Welcome back to this Tuesday Tutorial on drawing a landscape on sanded art paper. We’re passed the halfway point now. Today, I’ll show you how to draw grassy hills.
Links to the previous posts in this series are below.
Draw a Gray Sky with Colored Pencils
Finish a Sky in Colored Pencil
Draw Far Distance on Sanded Art Paper
How to Draw Realistic Trees on Sanded Art Paper with Colored Pencil (on EmptyEasel).
Fixing a Colored Pencil Mistake on Sanded Paper
Now for this week’s tutorial.
Ordinarily, when I speak of drawing grass, I’m talking about grass that looks tall and is full of detail. Tall grass, waving in the wind.
But for this drawing, the entire composition is far enough removed that there isn’t much detail even in the foreground. You can, of course, add details if you wish, but our focus for this post is on how to draw grassy hills that are not up close. There will be some detail, but perhaps not what you’re used to seeing in my tutorials.
How to Draw Grassy Hills
Step 1: Rough in the darkest shadows.
There are several hills in the middle and foreground of this composition, but the lighting is such that not all of the shapes are very well-defined. Emphasize those shapes in order to break up the foreground, but don’t add a lot of color or get bogged down in detail.
Sharpen your pencil so that there’s a good amount of pigment core showing. Hold your pencil a little further back along the pencil (if the pencil is long enough), and hold it so that it’s nearly level with the paper, as shown below.
Use light pressure and “slide” the pencil across the surface of the paper. Stroke along the contours of each hill. One or two strokes should be sufficient (unless you have an extremely light touch, as I do.) Keep the strokes loose and sketchy. All you need to do right now is establish the shadows and the suggest the shapes of the hills.
Add shadows throughout the foreground.
Don’t forget the shadow under the small group of trees in front.
TIP: It’s not necessary to get the hills exact. You want the shapes to break up the foreground and provide a visual path that leads to the small group of trees at the center of interest. Feel free to change the shapes or positions of the hills to suit your own vision for the drawing.
Step 2: Glaze the hills with base color.
I chose Yellow Ochre for the first color on the foreground because I didn’t have a Prismacolor color that was close to the colors in the reference photograph. So I compared each of my greens. Chartreuse was the closest green, but it was way too bright.
So I looked through the earth tones, and realized Yellow Ochre was a good companion color for Chartreuse.
Since green is the dominant color, I layered Yellow Ochre first.
If you have a green that’s a better match than either of these two colors, use it. If you want to try different colors than I’ve suggested, that’s acceptable, too.
Layer color lightly over each hill. Draw the hills individually, and stroke along the contours of the hills. Use light pressure and it’s okay to use a blunted pencil.
A Word about Pencil Strokes
You have two options for strokes.
The first option is to hold the pencil in normal writing position and apply short, directional strokes along the curve of each hill, as shown here.
You can also use the side of the pencil (as shown in the previous step.) You’ll still stroke along the contours of the hills, but will cover more of the paper with each stroke, and will also get smoother coverage, as shown below.
The first stroke gives you more control and is best for working around the small group of trees in front. It also lays down color a little more heavily.
But the second stroke is faster and produces more even color. The paper shows through it more. If you’re using a single color (instead of mixing colors as I am,) you may benefit by having paper show through. It will add visual interest and help tone down whatever green you use.
It’s also acceptable to combine the strokes, or to use any other stroke that helps you produce the look you want.
Next, smooth out the color by dry blending with a stiff, bristle brush. Use medium pressure and stroke along the curves of the hills. Use short strokes and overlap strokes to smooth out the color.
Step 3: Dry blend pigment dust into the color layer.
Drawing on sanded paper produces pigment dust. You can either brush it off the drawing with a drafting brush or other soft brush, or you can work it into the paper and use the pigment.
And this is the foreground with the first color applied and dry blended.
If we were drawing a fall scene, all we’d need to do is deepen shadows, add details, and maybe a few highlights. That’s one reason I prefer dry blending to solvent blending for drawings like this. It gives the landscape a more natural feel, especially when working on sanded paper.
Step 4: Layer green over the base color.
Layer Chartreuse over the foreground using light-medium to medium pressure. Keep your strokes close together and short in the background. As you work toward the bottom of the drawing, use longer, more open strokes if you wish, or continue to use small, less open strokes.
In the front (at the bottom,) I switched to directional strokes that mimic the look of grass, but that’s a personal preference. If you don’t want to use this type of stroke, continue with the even layering.
If you do use “grass-like” strokes, keep your pencil sharp. Leave lots of open space (with paper and the previous colors showing through.)
Next, darken the shadow on the hill immediately in front of the trees with Olive Green. Use a blunt pencil and short, horizontal strokes.
You can blend this layer if you wish. That was my intention when I drew it, but I liked the way it looked unblended, so I left it alone.
There are plenty of details on the side of this hill in the reference photo. Stones and rocks. Clumps of grass and other things. Leave those details for later. For now, it’s easier to lay down all the color, and concentrate on values. The details can be added later.
Step 5: Continue darkening shadows and developing color.
Work through the rest of the drawing with Olive Green, darkening shadows and reshaping them as necessary. Again, don’t fuss over details. Work toward getting the color and value the way you want it first.
Feel free to try different types of strokes. I tried drawing directional, grass-like strokes with Olive Green in the lower right corner. While that’s a favorite stroke, it didn’t accomplish very much.
So I used the side of the pencil to lay down more even color along the contours of the foreground slope.
Step 6: Add a warm, neutral color to keep the greens from getting too bright.
Next, use Cream to lighten and warm the green in the hill immediately in front of the trees. You can use either a sharp or blunt pencil. Use medium pressure or slightly heavier, and careful stroking to create even color. Don’t burnish just yet.
If the edge of the shadow is too abrupt, blend the edge slightly, but don’t work too much into the shadow with Cream, or the shadow will become too light.
I used a long stroke to draw along the slope of the hill that faced the light source (the sun) most directly. Beginning with medium pressure at the right edge of the paper, I drew along the hill to the crest, and decreased pressure while stroking so that I was using very light pressure at the end of the stroke (the crest of the hill.) Although the hill is not very tall and doesn’t have much of a peak, there is still a point where it starts curving away from the sun. I wanted the color to “fade away” in this area.
Finish all the slopes that face the sun this way, but make sure to keep the emphasis around the center of interest. Keep the brightest brights around the trees in the center, and fade them gradually as they move toward the edges of the drawing.
Step 7: To dry blend or not to dry blend.
The next step depends on whether or not you want to dry blend the hills. If you don’t skip this step.
If you do, use a stiff bristle brush to blend the colors together. Use horizontal strokes that follow the slopes of the hills to smooth out the color. Start with the lightest areas and blend them first, then move to the next darkest areas. Finish with the darkest areas.
This is important! If you work from dark to light, you will add unwanted dark colors to the highlights. While that’s not a disaster if it happens, it is an unnecessary irritation.
The end is drawing near on this tutorial. All that remains is drawing the center of interest (those unfinished trees,) and finishing the drawing.