- Lesson details
In this video lesson world-renowned painter Steve Huston will show you how to approach complex natural forms in landscape paintings by simplifying the forms into boxes, spheres, and other mass conceptions. Steve will show you how to break down the forms of trees, rocks, cliffs, and other terrain with a focus on clear readable form as well as light and shadow.
- Sharpie Marker
- Newsprint Paper
Discuss this video in the forums!Discuss
complex natural forms in landscape paintings by simplifying the forms into boxes, spheres,
and other mass conceptions.
Steve will show you how to break down the forms of trees, rocks, cliffs, and other terrain,
with a focus on clear, readable form as well as light and shadow.
of that. Let’s go ahead and get started here. So, on this tree you’ve got the big
basic shape. We talked about balls and boxes last time, and that’s what we’re going
to use here. In this case, we’re going to use a big ball or a half ball.
Now, the big difference when we’re drawing organic forms is they’re not going to be perfect.
Notice that this ball has the bottom. Let’s do a little ball here, a little more
perfect ball. It has the bottom sliced off, kind of a mushroom shape. Also, this side
is fairly regular. This side is quite irregular. And so what we’re going to see when we’re
working in nature is a certain asymmetry.
And that’s going to make it convincing.
So you’ll start out with this symmetrical idea. It’s just a tube. It’s just a box.
It’s just a ball, and you make it slightly asymmetrical. So for example, the tube, or
it could be the boxy shape for the trunk is going to wobble a little bit and curve a little.
You can see the curvature there. You can see the wobble here and here. Then it sits on
the ground. So there we have the basics of that tree.
Now, there are all sorts of variations to it. Watch how I can refine this and come up
here and find that flatter spot. Here is a little more of a billowing shape like a cloud.
There’s a little trailing piece that I may have wanted to leave out in the actual tree,
but we’ll put it in there for argument’s sake. Then we have this kind of carving out
down here. Notice how I can work this out into an ever-more refined, more sophisticated,
and more personalized simple shape. There we have it.
We can just keep—I say there we have it,
we have it, but we can keep adding more and more information on that. We can start to
add a value system to it. So in my world trunks are very dark, at least with this particular tree.
They cast a shadow onto the ground in whatever little foliage happens to be, dropped
branches or whatever, happen to be underneath.
Also, lay down a shadow shape.
Let’s try it again, and let’s put it in a little environment now.
I’m going to make a simple shape out of
this with a certain asymmetry.
Notice how I can sketch it several times.
Now, I’m using a slightly dried out marker. It’s a Sharpie brand. You can use
any kind of marker. You can use pencil, charcoal. Any of that is fine.
I’m using a Sharpie and just newsprint.
So the quality of the paper doesn’t matter. The quality of the
type of the pencil doesn’t matter. It’s really whatever is convenient or whatever
feels comfortable for you. So there is the tree. And now let’s go ahead and put in
the environment. Here we have a field behind and a field in front.
This field in front has a fence line on it.
And it has a tree line back here, which is, these shapes are reminiscent of that shape.
Then it has whatever value range.
Let’s say that the tree is dark in front with an even darker base to it,
shadow and trunk.
We have a lighter tree line back here
and a lighter grounding here.
You can see how we can start to work out the idea for our painting,
and maybe there’s a subtle little cloudscape in here.
So all of a sudden I start to develop my simple design for painting.
We can lay in the paint, and we’ll lay this
in as we get into our painting demos in the same manner. We’re going to work it out
in the same simple manner, plugging in. From there on, it’s a matter of adding ever more
complexity to it. So maybe we have a shadow of branches—
not branches, the leaves, the foliage breaking out here.
This is a fairly gray day so we don’t have a real direct
light. We just have the shading, the undercarriage of these forms.
Maybe a few fly-away little bits.
Now, squint at that, and you’ll see the tree is from middle to dark. The foreground
and the far background is middle light. The middle ground is light.
The background is light too.
We can even add the clouds in there and make it lighter yet. So simple shape,
if I have control of my simple shapes. If I can draw eggs I can put a shadow on the egg.
If I can draw a tube and a curved tube at that, put a shadow on the tube.
Doesn't even have to be very well done, does it? Just simplicity and confidence. If you make things
simple, if you translate the complex world into a simpler world, apply a little bit of
value if you’re trying to get more realism out of it, value is going to be the strongest
pop in terms of what we see; contrast, sense of depth and space, all that kind of stuff.
Simple value shape on a simple shape, constructed shape. Value shape on a constructed shape, let's call it.
You’ve got most of the battle won.
You can see the little tubes of the fence, the little cloud-like egg shapes of most of
the landscape. Even this foreground is a giant egg topped out.
There might be little crop shapes in here.
All that kind of stuff just works out nicely.
Okay, so let’s try another one here. Here we have a gray day so we just see the silhouettes
of things. We’re going to try again. Now, one of the problems we have with trees is
it’s all little tiny branches or we see a little branches and we see a lot of little
leaves, and if it’s a bush there might be flowers on it. We’ll see that in a second.
And so we see a lot of the little things. Those breaks through where you can see through
the foliage to the sky or the landscaped objects behind, those are called sky holes.
You want to ignore the sky holes at first and get the biggest, simplest shape you can.
Generally, when you’re constructing you want to pretend you’ve wrapped the whole
thing up in brown paper wrapping to ship off. It’s a big wrapped shaped. There is no detail
inside. It’s just blanketed. And so that’s what we’re going to do with these. I’m
just going to pick one of these trees. Remember, it’s a simple shape so I’m going to start
out with an egg shape idea, and I’m going
to make sure it’s an asymmetrical shape.
I’m just going to start with that. Then from there I can make it a little more complex.
Of course, as you get more confident with this—so notice I’m adding little box shapes.
I’m just making the two-dimensional squarish shapes rather than trying to figure out some
kind of box in a three-dimensional. That’s for later if I ever get to that. Since this
is a silhouetted shape in this mist we’ll never get to those boxy three-dimensional ideas.
It’ll just stay a silhouette.
Then you can come back through and pick up some
of the major branch structures in there.
You can always pick out some of the sky holes later.
Then if we add a tone to that this is more
or less how I would paint it in the beginning
for the lay-in of my painting, and it may well be for a sketch. In the early sketches
that we’re going to do it will be this way. It will never get any more complicated or
barely more complicated, and I’ll explain the “barely” in a second. Again, if you
give it a grounding, take that darker value if it is a darker value and take it into a
darker ground, we’ll feel the anchor of the shadow. Still life painters teach us this.
The traditional still life painters would ground with nice, firm shadows, and that would
give weight. So if you put a shadow under that figure, under that horse, under that
tree, the base of that mountain, it’s going to ground. It’s going to give it weight.
It’s going to actually feel like gravity has brought it down and anchored it. So oftentimes
you’ll see, in landscape and in some still
lifes, you’ll see the heavy shadows
at the base here.
Let’s add another one here.
Now I’m just going to be more free form.
I'm looking for the symmetry and the asymmetry.
What’s the symmetry? The symmetry is that if we put
an axis on this we’ll feel like bulging out this way. Let’s put it over here.
We'll feel a bulging out this way and bulging out
that way. The asymmetry is the bulge is weighted
down here, and the bulge let’s say kicks
up. Little square and it weights up there.
And so we get this harmonious idea of bulgy
on either side of the axis of tree trunk and
disharmonious, disharmony, asymmetry where
we have it sagging, pulling down and rising, kicking up.
So see that?
Same yet different. Each side is reminiscent of the other. This
side has a little bit of corners in it, has a little bit of complexity meaning the curves
aren’t perfectly compass curves. The corners don’t hit at the same place on the same
side as the other side.
There’s a unity/disunity. That creates tension. They’re similar and yet they’re different.
That’s dramatic. They have something in common, and yet they’re their own individual.
Art plays off that dynamic all the time, of things working out of the same world and yet
having its own personality. That’s the experience of our life, isn’t it? We are individuals
with our own needs, wants, desires, talents, level of experience.
And yet, we have to fit into that greater group, whatever that group is.
So you can see how I’m just squiggling out the tones, and by making them painterly I
can get down my idea quicker. Actually, in this case the painterly technique is reminiscent
of foliage of things, complex things going on inside groupings and separations of branches
and little masses of form.
Then we can just keep going on and on and on.
Here are smaller trees.
Each one is going to have its own difference. These tree trunks are reminiscent of each
other, and yet they have a distinct personality to them.
So we could instead of laying in the shape we can just organically find the shape.
Since the tree is a growing organic thing, and there is not a particular shape, a specific
shape that the audience is expecting. They’re just looking for general treeness. The foliage
drawing, all the individual elements, drawing and building organically in slightly different
ways. It will never look the same way twice even from day to day. Leaves will fall. Branches
will grow. Buds will bloom. All those kinds of things. So we can just kind of squiggle
into, why can’t we do that to get the little bush in the garden.
So, similar symmetry/asymmetry
and working out shapes simply and then adding refinement. So this is how we’ll lay it
out in pencil or pen or paint. Same process.
One of the things I am very fussy about it I want the same process no matter what tool
I use. I can use or I can use this, or I can
use a pen or chalk, whatever it is. My thinking
is going to stay the same. The strokes will vary with the medium used, with the refinement
or crudeness of the tool. A big clunky tool or a more fine tool like a pen point, but
the thinking will never change. My thinking is going to be big simple shapes down to smaller,
more complex shapes. Those shapes are going to be working off a rhythm. If it’s an organic
form that rhythm is going to be curved and fluid because organic forms, living forms
are mainly water. So you can see these watery
designs here with our without the corners.
The corner might be a crest of a wave, but it’s going to slosh around, flow around,
move through these beautiful rhythms.
The more curved the rhythm is, the more organic,
the more graceful, more alive, and more sophisticated it will seem.
The more chiseled it is, we
can chisel these things out as we found last time. You can chisel them out. You’ve got
a big brush, and you’re going to chisel them out like this, which will exactly do
when we begin our first painting lessons. Make it chiseled. The net feel for the audience
will be the same. It won’t matter if it’s made of little straight lines and corners
or big fluid, long curves that every once in a while pause and change direction. Either
way is great. Pause, change direction.
Alright, so that’s going to be our strategy. Doesn’t matter the tool. The thinking stays
the same. So when I’ve got my little sketchbook, I’m sitting in the garden or in the park
waiting for the bus, I can whip out whatever tool I happen to have if I was smart enough
to bring something with me, or I just fumble around and borrow something from a desk clerk
while you’re waiting at the restaurant for your coffee and look out the window, and you
start sketching these little things. What we’re doing then is we’re learning to
see the whole big wide world, and we’re learning to translate it into a few simple
notes, a few simple ideas, phrases, thoughts, that we could turn into a technique, that
we can turn into a beautiful color palette, beautiful shaped palette, beautiful gestural
rhythms. One rhythm playing off the next. That’s what we’re after. A catalog of
information, a way of looking at the wide, wide complex world and seeing it in a manageable way.
Later we put in the sky holes. And they might be little cut-out shapes like this, and you
might put in a ton of them. More than likely you’ll want to put in just a few of them.
That will be the, whatever the blue sky or the forest line in the distance with the mountain
range coming through. It will be that color. But just translating that.
Let’s do another. Here’s another foggy day so we don’t have a lot of information
in the objects. It’s fairly indistinct, and we have a roadway going down the middle.
So we’re going to make a little composition out of this. What we might do on another page
or to the side here, we might sketch out some of the characters in our story here.
Here’s a little tree here.
There’s a little crazy-looking Christmas tree.
Here an evergreen, another one over here.
I might do a little bit of notation working
out some of the little personalities in my
ensemble cast here. Notice how we can very
usefully use the terminology of other art forms.
The rhythms, just like the rhythms
in a song there are going to be rhythms in a drawing.
Notes of color or value you might use just like the notes in a song,
the characters in a story, in a good story.
The advantage of doing that is you start taking the wisdom of one art farm and applying it
to the other. In a good story the characters aren’t all the same. They’re all personality.
They might all be college students or all be gangsters or whatever it is. The unifying
theme, but they’re also personalities that are quite different.
So anyway, we can work out these little casts
and do really careful studies. That’ll be
for another lecture or really loose, simple shapes. Little tube shapes, little box shapes,
all the egg shapes, all that kind of stuff. So I get a feel for it, and then generally
you want to find your horizon line. Now, this horizon line is going to sit extra low because
the true horizon line is probably up in here or has vanished in the fog.
But what we can see of our little landscape and
our road coming through here is just this much.
So here’s our road going back here. We’ve got the lawn—
the lawn is actually there.
You might even want to pick up a few radiating lines to feel that movement back.
So these are all just notes to myself as in putting down simple thoughts.
And then we’re going to have the trees coming in high
from the outside, low into the inside. Notice the
symmetry/asymmetry. I’m going to have this side actually crop over.
I’ll shade that in right away so you can see it.
That actually crops off the page.
The whole tree might be way up here.
There’s the ghosted finish of it.
The bottom of this tree might come down to about here.
Then we have a little section of trees here.
This is the one we just sketched.
And we have another one here. You can see how they’re getting smaller and smaller
as they recede back. Here’s a bigger tree back behind.
Little ghostly Christmas tree shapes here.
And then we’ve got this side.
Landscape pulling off there. We actually even
have some electrical lines coming up there.
You might even pick up a little bird on there or some such thing.
Okay, working out the basic idea.
One more. We have a little lilac bush here.
Again, the whole thing is really just an egg,
but this side of the egg has a certain personality to it that’s different than this. This side
hangs lower. The other rises up higher.
There’s a bit of an axle change there.
There is a big, beautiful lilac—this is last summer.
We had just the right amount of snowfall,
or I mean rainfall. I’m going to pick out these little circles, these little eggs, these
little egg-shapes, cloud-type shapes.
What I’ll do is I’ll pick out a few of the little
blooms, and I’ll let the rest be just big masses.
The driveway is in here.
These masses. Notice how I’m just squiggling in this stuff. To give it a sense of foliage,
plant material in different directions, I’m changing the direction of my strokes. Here
Here we’ve got a few of those blooms separating out.
So that kind of squiggle technique gives
a sense of the material without having to render the material. We could do a careful
breakdown of this, a real careful drawing like we do for a portrait commission, say
for a painting of some handsome young man or young woman or something.
Or, we can do just kind of a thumbnail sketch of that
basic figure sitting in the chair in his or her study
or whatever the heck is going on.
Takes off that way.
We just give the basic mass.
Just start it right here. The trees take off here.
There’s a fence line here. Gate here.
The road comes back out into more direct light.
This is all in shadow.
And so just working out that info.
So if I can use a technique that breaks things
into simple ideas, and then if I can use a
technique that is suggestive of the detail
without having to commit to the detail or
suggestive of the texture without committing to the rendering of the texture or the pattern.
Like this fence is a pattern idea. It could
be a plaid shirt, or it could be a rose print
dress or something, where we’re picking up these shapes. But all I’m looking for
is simple shape, simple, maybe it’s a cottonwood tree.
Maybe I’m going to show a sense of
the bark and the value of that tree.
So you see how it goes.
Like so. Simple shape, simple pattern,
simple texture, simple value system.
I’m really just breaking things into two or three values as I move around
through here. We’ll see that more clearly again when we get into our painting.
What I’m really trying to do is see the—
let’s forget the roadway, I guess.
Just see that kind of idea.
Simple two or three values.
One, the faded background. Let’s see, two—light
side of lilac bush with the greens and the purples that’ll be there. And then three
would be the deepest, darkest shadows or the darker local colors, like the dark bark of
the tree here or something like that. So just real basic ideas.
So we’re taking, look at the reference that I was working from and look at how I’ve
reduced it down to the bare essentials. The few things, just a few ideas, the 10 or 12
ideas that are important to me. The nice thing about that is it gives me great control of
getting that information down quickly, and the simple reduction, the translation that
I do will be a little bit different than the translation that you all would do. And so
each of us then can have our own vision of what’s happening up there,
and give a fresh take for our audience,
which is what they’re after. They want us to give them a vision
of the world. How should we see that world today? Or how do we see it in your show?
In your career? In your book illustration of images?
and some cliffs and rock formations in general. Very much like we did with the trees in the
previous lesson. Now we’re going to work with the mountainous shapes. In the simplest
incarnation they’re just mounds. So if we look at this little picturesque shot, I’m
going to simplify these down quite extremely.
They’re just lumpy egg forms. See the eggs.
See the eggs. See the eggs and just kind of the water line. If these were submerging you
can see the fill. That’s more or less what happens. The mountains erode down and silt,
if there is an inland sea, will bring in sediment and fill it up, and you’ll get these kind
of natural shapes. There is another shape coming over here. I’m going to adjust it
a little bit in composition so it fits nicely in here.
Then we have the background going off this way.
There are little shapes here. In that case maybe we’ll go to a pyramid,
kind of triangle shapes going that way.
Here is the water line here.
Got some architectural stuff going on here. I’m just going to do
that for the little resort building, the bridge across the foreground.
Here are now our familiar tree shapes.
Notice not very different than the mountain shapes. We want them to be a
little bit more energetic probably so they
don’t compete or are confused with our
Again, we can use that kind of rambling hatch technique if we want to
to give it a sense of foliage.
Here is a little tree line in here.
We can either pick up the little shapes
or just do that squiggle technique again as it goes around the mountainside.
Little trees separate out and kind of work
there way up in diminishing manner up the mountain.
Come back in and refine these a bit so they’re more sophisticated.
More unique, more dynamic.
More whatever adjective you’re looking for to get into or out of your artwork.
These kind of sketches, if someone were to come by and take a look and couldn’t find that
little resort building in there that would be fine with you. You’re just creating the
abstract design of it. We don’t care at this point if it’s descriptive. Here are
maybe the cloud formations back in here. We don’t care if it’s descriptive of the
actual object at this point. We just want to pick up the basic design, basic shape elements,
basic dynamics that you’re going to be working with.
Let’s look at more specific now, but we’re just going to work it out.
Let’s say it has a squarish shape.
Now, when I do a square shape it doesn’t mean that the lines have to be all straight.
They can be curves between the corners.
Okay, so we can see this shape here.
If I’m going to render this at all,
and check out my Laws of Light lecture, my basic one for the landscaping
and my more detailed one for Laws of Light in general and focused towards the figure,
and you’ll see that. If I know my light source is to the up and left then everything
that turns down to the right is going to get darker. It’s just that simple. I’m going
to then create a shadow shape on my big design shape.
Then I’m going to give it a value.
And if I let that wandering hatch technique take over I can give the feeling of the foliage
in the tree or the strata in the mountainside.
Just working all the way down. Unlike drawing a figure, a young woman—
doesn’t have to be young,
but a woman sitting on a sofa in
a certain costume, there would be all sorts
of pressures of proportion, getting the eye line to relate. Getting the symmetry between
the features to be very, very close. Proportions, how long the legs are, how big the head is.
It’d be a tremendous amount of pressure in a figure drawing to make all those shape
align, cohere, relate correctly. In the mountainside you don’t have any of that pressure, hardly.
There is a general scale issue. You want this
mountainous shape to be big this tree line here
to be small but not a huge hurdle to cross.
So fairly simple drawing
with fairly simple shapes,
and they can just be linear, just
work it out bump by bump, and if this got a little bigger or pushed this way compared
to that reference who cares really. It wouldn’t matter. You might decide you don’t like
it as well. Do another little sketch or rub it out on your canvas and sketch it in again.
But the basic idea would be there right off the bat, and it will be just fine in theory.
We can give a little bit of the texture of
the craggy rock formations and such.
Or we can say this is basically a kind of tilted
triangle form like so and work it out as a
basic shape. Or it’s a fairly rounded idea
a series of ball-like shapes on it. We can
then light those however we choose to light them. Any of those choices are fine. But what
I want is a series of basic shapes that I could plug in a value or color, the blue sky,
maybe the wispy white clouds or two values. The shadow of the rock and the light side
of the rock, where it can be more than that. It can be the snow in there and all sorts
of stuff. But something that is simple in shape, simple in character that allows me
to develop my technique on top of it specifically for us painters, and sometime down the road
I’ll do some drawing lessons for you to do careful sketches. But all I want is these
little thumbnail sketches. These simple design sketches, these squiggly suggestions of texture
maybe. But basically the personality of the thing in shape, and then I plug in my colors
when I render and my values when I render and in my painting phase of this. But I want
the information there to be controlled so that I can use it later.
So let’s go on to another one here.
We’ve got kind of a snowscape here of shapes.
I'm just going to pick out a few of these.
These are mountainous rock formations coming out
of the snow here. Rocky peaks.
Long cast shadows for the long
move into nighttime from daytime.
We can see how quickly we can sketch out this idea.
The direction of the crags and the cliff
line as the rock comes out the snow. That type of thing. There are all sorts of little
stuff going back here we won’t worry about. But, let’s pick out this bigger, shadowy
line here. Then with all that little stuff this is the shadow of the snow cast by some
big mountain off stage. Then we have this big craggy cliff line, and these really oddball
shaped rocks actually, but we’ll just make them simple.
Notice now in a good story the plot moves along. Things change. The get better and they
get worse, and they get better again. Each time it gets worse it’s a different kind
of worse. Each time it gets better it’s a different kind of better. Each time we move
through the story things surprise us and intrigue us because it’s evolving; the situation,
the emotions, whatever it is, is evolving and changing. And so we have this basic—let’s
do this again now over here.
We have this and this and this.
We have a rock formation.
We have a shadow cast over the foreground. We have these little craggy cliffs poking
out of the snowscape in the background.
I want each area to be different that the others.
So back to our more sophisticated drawing here:
This shape is very different in character
than this shape. These two big shapes are very different in character than these small
shapes. Each of these small shapes is different than the other.
different than the last. If it pokes out, it pokes out in a little different way. This
little poke has a hook in it. This little turns up a little bit, a little bit different.
So this little pyramid triangle shape is a little different than that, and that is a
little different than that. Notice how the personality changes. It evolves. Life evolves.
Nature evolves. It’s imperfect. It’s surprising. It’s ever-changing its dynamic. And yet,
it’s reminiscent of what went on before. So that balance between making it all rocky
in character, maybe using a lot of triangular shapes. When you have a long line, a relatively
long line, maybe do a slight curve to it. Maybe play curves against straights against
curves, whatever it is. That similarity comes through, but it evolves into a different personality
also at the same time. Working on through.
So that’s what we’re after in our nature scapes. We want a reminiscence, these shapes
are reminiscent of each other, but each is fundamentally a different personality, again
like a good story. Here’s a little dish
shape in here where we actually have a bowl
coming out. Like a good story we have characters that are fundamentally human. They are fundamentally
the same. They’re after very similar things, but they go about it in very different ways.
Their personalities reflect the difference. That’s what we want here. Same, yet different.
Symmetry, yet asymmetry. And that balancing act that you go through is going to be a little
different than someone else. That will give it a lovely personality that’s all your
own with a little bit of practice.
So this new one we have or these craggy cliff faces, giant mountain face that we’re above
in a helicopter or on another bigger peak, and we’re looking actually down on them.
So, if I just take one of these—I’m going to take kind of that middle right fellow,
and I’m going to envision putting a cone on top of it. I would be on top of the cone.
The cone goes on top of the mountain, and I’m above the mountain looking down at it.
And so as I work around these craggy shapes, and it could be this way too. It could be
a boxy idea. I want to feel on top of these shapes in this case.
And so what I’m going to look for then,
to look for then, let’s take that little thing out I did. See how I made this little
shadow shape turn this way. You can look to
our extensive perspective classes to see all
the ins and outs of this, but the basic
idea is that we’re on top of that boxy idea.
Or on—if we conceived it as a cylinder, doesn’t really matter, does it, which way
we conceive of it. Give that a subtle tone
here just to make life easier for us.
Notice that that same, if I take out that shadow shape and isolate it, it has that same
quality. The main thing is that this top drifts down at an angle like that.
So if I can feel that kind of angle coming down
through, I’m going to pick up a shape down in here.
I'm going to try and come back to that angle more or less strongly.
There it is there.
This comes around here. There’s that angle again. It does all sorts of weird, bumpy stuff.
I was going to say that we can’t control, but of course we can control it. We can make
it do whatever we want. We’re the creators here. We’re the boss. Notice how as I go
in through these shadow shapes now I consistently come back to that same—I’m even going
to hatch it in that same way to make the point.
I come back to that perspective line. So if
I want something to have a boxy quality, not just in terms of the character or the shape,
but the position of that box or that detail in space in relationship to the world. We’re
on top of that piece of the world, or we’re underneath that piece of the world, and I’ve
got to pay attention to my perspective idea.
Say it does this. I’m just kind of rifting off this.
Notice that you look at that reference now again, and just to be clear, let me give this
a little bit more character, closer to what we saw or do see in our reference.
Let me do this here so you can see it. I’m looking to the—there’s one peak. Another peak
I’ll draw a little bit of it. That next peak and then the peak over here
before it goes off the page.
So here is this. I’ll just kind of knock that out. There’s that
same angle again copying down.
There’s that same angle again.
I’m going to push that angle.
Come back to it whenever the organic, wild character of the structure allows me to.
I’ll come back to it. It can be even exaggerated.
Notice that this little strata going on here
is exaggerating that. Coming down here we can go back to that kind of cragginess, crazy
line quality here. Here is the top or a little tubular idea.
This has gone off here.
So hopefully you get the point. We want this.
A great way to learn this stuff is to get a little
cheap Bic pen or fountain pen or marker
and just kind of sketch these shapes
from reference, out of your head, whatever it is.
But if it can not only get that shape
just to ring true to what I see, reminiscent of what I see, but also to feel like it has
a place in that bigger world that I’m trying to create. Let’s play this up here a little bit.
What I did is I took, to blow up, I shaded it in so you could see it a little bit better.
But look, there’s the top again. So that’s very much like a cone.
It’s just an asymmetrical cone as we would like it to be.
Symmetry and asymmetry. Like that.
That’s all that shape is.
Look at how it puts us on top of that. On top of that.
This is going back that way.
That’s going down that way. We feel that boxy structure throughout. This is going down
that way. This is going down that way. There’s that boxy structure again coming through.
Okay, so let’s stop there.