>> OH, NICE.

HI.

I'M JIM ARNOSKY, AND THIS WEEK ON "DRAWING FROM NATURE" WE ARE GOING TO BE GOING OUT AND WALKING OVER AND LOOKING AT AND DISCUSSING AND COMING BACK AND DOING A DRAWING OF LAND.

>> "DRAWING FROM NATURE IS MADE POSSIBLE IN PART BY A GRANT."

♪ ♪ ♪ ♪ WHEN YOU LOOK AT THE LAND, PICTURE THE PRESENT WITH AN UNDERSTANDING OF THE LAND.

WALK THE LOWLANDS, SEE AND DRAW EVERYTHING.

ETC.

♪ THERE IS TIMES WHEN I AM AWARE OF EVERY STEP I TAKE.

I REMEMBER A PLACE BY THE LAY OF THE LAND AND HOW IT FEELS AGAINST MY FEET.

I REMEMBER READING ONCE WHERE THE ONLY PIECE OF LAND YOU CAN EVER TRULY OWN IS THE ONE SQUARE FOOT UNDER YOUR TWO FEET.

TO THAT, I WILL ADD ONE MORE SQUARE FOOT AND SIT DOWN.

THE LAND IS THE SURFACE OF THE EARTH THAT IS NOT COVERED BY WATER.

IT IS SHAPED AND MOLDED BY INNER AND OUTER FORCES.

SOME CHANGES HAPPEN SUDDENLY, FOR INSTANCE, A VIOLENT EARTHQUAKE COULD SPLIT THIS MEADOW IN TWO IN SECONDS.

MOST CHANGES, HOWEVER, HAPPEN VERY, VERY SLOWLY THANK GOODNESS.

A SHORELINE CHANGES A LITTLE EVERY DAY FROM THE WEAR OF SURF AND WIND.

THE WATER GRINDS ROCKS INTO SAND AND MOLDS THE SAND INTO BEACH.

THE WET BEACH IS THE TWILIGHT ZONE BETWEEN WATER AND LAND.

IT IS WHERE THE WATER DEPOSITS BROKEN SHELLS, LOOSENED WEEDS, AND OTHER DRIFTED DEBRIS.

EVERYTHING ON A WET BEACH LOOKS AS IF IT HAS JUST ARRIVED.

THE DRY BEACH IS SAFE.

AWAY FROM THE ERASING WAVES.

PLANTS TAKE HOLD.

OBJECTS BECOME EMBEDDED IN THE LAND.

WHEN YOU ARE DRAWING THE SHORE FROM NATURE, DEPICT THE TYPE OF BEACH THAT YOU ARE SEEING, WET, DRY, OR BOTH.

STUDY THE DIFFERENT TEXTURES.

SEIZE THE CHARACTER OF THE LANDSCAPE.

THE EARTH IS ALWAYS WORKING ON ITS MOUNTAINS.

ALWAYS.

EVERY SECOND IT IS DOING SOMETHING TO ITS MOUNTAINS.

IT'S EITHER RAISING SPECTACULAR NEW ONES, OR IT IS ROUNDING AND SMOOTHING THE OLD ONES.

THIS IS AN OLD RANGE WHERE WE ARE HERE.

YOU CAN SEE THIS HAS BEEN MILLIONS OF YEARS IN JUST SMOOTHING ITSELF, BEING ERODED TO A SMOOTH ROLLING LANDSCAPE FOR US TO ENJOY TODAY.

MOST MOUNTAINS ARE FORMED BY THE EARTH'S CRUST EITHER WRINKLING OR SHIFTING OR, ACTUALLY, SWELLING THE DOME TYPE OF THINGS THAT YOU HAVE SEEN, THAT YOU HAVE PROBABLY READ OF.

OTHER MOUNTAINS ARE FORMED OR CREATED, ACTUALLY, BY WATER OR ICE DIGGING INTO THE LAND AND CARVING, CARVING THE MOUNTAINS OUT OF THE LAND THAT'S THERE.

WHEN I DRAW MOUNTAINS, I ALWAYS THINK OF HOW THE MOUNTAINS THAT I AM DRAWING MAY HAV BEEN FORMED, AND I USE MY PENCIL TO EITHER CREATE A WRINKLED KIND OF LOOK, WHEN I START TO CONSTRUCT THE MOUNTAIN, OR TO MAKE A SHIFTED PLATE KIND OF LOOK TO BEGIN WITH.

SOMETIMES I JUST START ON BOTH SIDES OF THE MOUNTAIN WITH MY PENCIL AND MAKE A NICE SWIRLING LUMP TO START MY MOUNTAIN OUT WITH.

AFTERWARDS, YOU ADD THE FOLIAGE AND THE STUFF GROWING ON UP ON THE SIDES OF THE MOUNTAIN.

WHEN I AM DRAWING MOUNTAINS WHERE WATER OR ICE OR EROSION WAS THE MAIN FACTOR IN THE SHAPING OF THE MOUNTAIN, I USE MY PENCIL JUST LIKE A KNIFE, AND I CARVE OUT THE MOUNTAINS ON MY PAPER JUST LIKE AS IF I WAS TIME, YOU KNOW, WORKING AWAY AT THIS RANGE ON MY PAPER.

IF YOU CAN NOTICE IN THIS RANGE, LIKE I SAY, IN A VERY OLD RANGE OF MOUNTAINS.

SOME OF THE BUMPS IN IT, THAT'S MY TERM FOR -- THAT'S A GEOLOGICAL TERM THAT I HAVE INVENTED, CALL "BUMP."

SOME OF THE BUMPS ARE HIGHER THAN THE OTHER LUMPS OR THE LUMPY MOUNTAINS AROUND THEM.

THOSE PREDOMINANT BUMPS ARE KNOWN AS MANADONOCKS.

THEY ARE CREATED, OR THEY LOOK THAT WAY BECAUSE THEY ARE MADE OF SOMETHING HARDER THAN THE OTHER BUMPS OR MOUNTAINS AROUND THEM SO THEY GO DOWN SLOWER AND THEY START TO -- THEIR HEAD STARTS TO RISE ITSELF UP ABOVE THE OTHER BUMPS AS THE OTHERS WEAR DOWN MORE QUICKLY.

WE'RE STANDING ON ONE.

THIS IS CALLED OWL'S HEAD BECAUSE IT'S JUST ONE BIG KIND OF BALD HEADED FACE OF GRANITE.

IT'S REALLY A SOLID CHUNK RIGHT HERE IN THE MIDDLE OF THIS RANGE, AND IT IS SO TOUGH AND SO HARD AND SO EROSION RESISTANT THAT IT'S GOING TO TAKE MILLIONS AND MILLIONS OF YEARS MORE BEFORE THIS THING STARTS TO GET SMALLER OR AT LEAST START LOOKING LIKE SOME OF THOSE LOWER LUMPS OUT THERE.

THIS IS THE PLACE.

THIS IS THE PLACE.

THAT WAS THE BEST PLACE TO COME TO LOOK AT THE REST OF THESE MOUNTAINS.

I DON'T KNOW IF THIS WOULD LOOK AS NICE IF WE WERE ON ONE OF THOSE OTHER PEAKS AND LOOKING OVER HERE.

[SOUND OF BIRDS CHIRPING] HILLS AND VALLEYS ARE VERY OLD LAND FORMS.

EROSION WASHES LAND AT THE TOP OF A HILL, DOWN SLOPES, AND FILLS THE VALLEY.

WHAT IS NOW A LITTLE HILL AND A GENTLY SLOPING VALLEY MAY VERY WELL HAVE ONCE BEEN A MOUNTAIN OF TOWERING HEIGHTS WITH A DEEP RAVINE.

IRAQ FOROCK FORMS THE ESSENTIALF THE EARTH'S CRUST.

THIS IS A PIECE OF ROCK.

IT IS A BIG PIECE OF ROCK.

IT'S AN OUTCROPPING OF ROCK THAT MAY BE, I DON'T KNOW DID MAY GOY GO FOR FEET ALL AROUND HERE.

THIS PIECE OF ROCK BROKEN INTO SMALLER PIECES, BUT STILL LARGE PIECES, WOULD BE MADE INTO BOULDERS.

IF WE BREAK THE BOULDERS DOWN INTO SMALLER PIECE, THOSE WOULD BE STONES.

STONES CRUSHED TO TINY PIECES MAKES PEBBLES.

WHEN YOU ARE DRAWING LAND SKINS AND WHEN THERE IS ROCK IN YOUR LANDSCAPE, REMEMBER, OR CONSIDERATE LEAST WHAT FORM OF ROCK IT IS THAT YOU ARE DRAWING.

ARE YOU DRAWING A BIG OUTCROPPING LIKE THIS THAT'S ESSENTIALLY SOLID AND NOT BROKEN UP, OR ARE YOU DRAWING BOULDERS, BOULDERS CAN BE BIG, I MEAN, BOULDERS CAN BE AS BIG AS A VOLKSWAGEN.

OR ARE YOU DRAWING STONES?

AND, OF COURSE, CONSIDER IF YOU ARE DRAWING PEBBLES BECAUSE IF YOU ARE DRAWING PEBBLES YOU WANT THEM TO LOOK TINY AND LIGHT AND MAKE THEM LOOK LIKE THEY CAN BE PICKED UP AND PIMPED.

S-- PICKED UP ANDPITCHED.

SECTIONS OF ROCK STICKING UP OUT OF THE GROUNDS -- HERE, LOOK.

SEE HOW THIS GOES UNDERNEATH THE TOP?

LOOK AT ALL THE ANTS IN THERE.

THIS ROCK GOES UNDERNEATH THE TOPSOIL.

THE TOPSOIL OVERLAPS THE ROCK.

THIS TOPSOIL IS MORE MOISTURIZES THAN THE TOPSOIL OUT FARTHER INTO THE MEADOW.

AND I THINK THAT IT'S BECAUSE THE ROCK RETAINS MOISTURE OR SWEATS INTO THE TOPSOIL.

I AM NOT SURE, BUT FOR WHATEVER REASON, THIS IS MOIST, AND THE PLANTS THAT GROW AROUND THE ROCK TAKE ADVANTAGE OF THAT MOISTURE, AND THEY GROW A LITTLE BIT MORE LUSH, A LITTLE BIT TALLER THAN THE PLANTS A BIT AWAY FROM THE ROCK.

WHEN YOU ARE DRAWING PICTURES OF ROCKS AND PICTURES THAT HAVE SOMETIMES --SOMETIMES IT'S NICET HIGHER GRASS NEXT TO THE ROCK -- THAT MAKES IT -- I DON'T KNOW, IF GIVES A SENSE THAT THERE IS WATER AROUND THAT ROCK.

YOU ARE NOT ONLY DRAWING ROCK BUT WATER, TOO, WITHOUT HAVING TO DRAW WATER AT ALL.

I WILL SHOW THAT TO YOU LATER WHEN WE GO BACK.

IN RURAL COUNTRY, STONE AND BOULDERS THAT WERE CLEARED FROM THE LAND ARE VERY COMMON.

ORIGINALLY THEY SEPARATED PASTURES FROM MEADOWS, AND IN THIS CASE, MEADOWS FROM WOOD.

NOW THEY ARE ALL WORN WITH AGE, THE FARMERS THAT BUILT THEM ARE LONG GONE, THEY HAVE BEEN RECLAIMED BY NATURE.

I DECIDED THIS WOULD BE THE SUBJECT OF TODAY'S DRAWING, AND I WANT TO LOOK AT THIS STONE WITH YOU AS A LAND FORM BECAUSE THIS WILL BE OUR LANDSCAPE, THIS STONEWALL.

A LITTLE CHARACTER AND CONSTRUCTION IN THIS WALL.

THE STONES PILED, THE BIGGEST ONES ON THE BOTTOM AND SMALLER ONES ON THE TOP.

THIS ONE FELL DOWN HERE.

I WANT TO SHOW YOU SOMETHING HERE.

EVERY BOULDER OF STONE HAS A NUMBER OF SURFACES.

AND EACH SURFACE -- THIS ONE HAS ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT, PERHAPS NINE SURFACES, AND EACH SURFACE IS A DIFFERENT ROCK FACE.

IT IS COMPLETE WITH ITS OWN CRACKS AND FISSURES AND WRINKLES AND BUMPS AND MARKS.

LITTLE INCONSISTENT SERS IN THEE INCONSISTENCIES ON THE ROCK, AND EVEN A GROWTH ON IT.

YOU CAN SEE THIS IS DIFFERENT, MUCH DIFFERENT THAN THIS.

WHENEVER YOU ARE DRAWING A BOULDER OR STONE, YOU CONCENTRATE ON ONE SURFACE AT A TIME.

ADDING IN ALL THE LITTLE POCK MARK.

YOU WOULD ADD ALL OF THIS TEXTURING, AND HERE IT ANGLES OFF A BIT.

BY THE TIME THAT YOU COMPLETE THIS ONE SIDE, YOU WOULD CONCENTRATE ON ANOTHER SPACE.

THE MORE YOU LOOK AT A ROCK FACE, JUST LIKE ANY FACE, THE MORE YOU WILL PERCEIVE ITS OWN INDIVIDUAL HISTORY.

YOU CONCENTRATE ON ONE SURFACE AT A TIME, GIVE IT SHAPE, TEXTURE, AND ADD IN THE DETAILS.

I CAN'T RESIST THIS, FIXING AND REPAIRING.

HOOK HOW ROUND THAT BOULDER IS.

IT IS OLD AND ROUND.

THIS MAY HAVE BEEN TAKEN FROM THE STREAM BED.

THERE IS A STREAM DOWN THERE IN THE HOLLOW OF THE VALLEY.

LET'S MOVE DOWN THE STONEWALL A LITTLE FARTHER.

THE ROCKS ARE ALL WORN.

EDGY FROM TIME.

HERE.

MILK WEED, COMING UP RIGHT THROUGH THE CENTER OF THE WALL.

I WOULD LIKE TO BE HERE WHEN THAT THING BLOSSOMS.

THAT WOULD BE PRETTY.

I WANT TO SHOW YOU THIS WHILE WE ARE DOWN HERE.

LOOK DOWN HERE, THE STONE DUG INTO THE SOIL FROM THE WEIGHT OF THE STONE ITSELF, THE WEIGHT OF THE WALL ON TOP OF IT.

A GOOD-SIZED BOULDER COULD WEIGH AS MUCH AS ME, A BIG BOULDER, AND IF I WAS STANDING IN ONE PLACE FOR 150 YEARS I WOULD BE SUNK ABOUT TWO INCHES INTO THE GROUND MYSELF.

LOOK AT THE COLORS IN THE STONES.

HERE IS A SPIDER WEB RIGHT BETWEEN THESE TWO STONES.

KIND OF A -- I DON'T KNOW WHAT WHATTHAT IS.

A BLACK STONE.

I LIKE THIS ONE.

THIS ONE REMINDS ME OF JAWS.

ALL THESE ARE ROCK FACES.

THAT'S WHAT I WAS TELLING YOU ABOUT.

OKAY.

ONE LAST THING BEFORE WE LEAVE THE WALL.

WHEN YOU ARE DRAWING A STONEWALL, YOU START THE WAY YOU DO WITH BUILDING THE WALL.

PUT THE BIGGER BOULDERS ON THE BOTTOM.

PILE THE BOULDERS ON TOP OF IT, AND MAKE SURE THOSE BOULDERS WOULD LOOK LIKE THEY WOULD SUPPORT THE BOULDERS ON TOP OF THEM.

AND THE BOULDERS ON TOP OF THEM WOULD LOOK LIKE THEY WOULD BE SUPPORTED.

-- BY THESE UP TO THE TOP OF THE WALL, AND IF YOU DRAW A WALL IN THE WAY YOU WOULD BUILD A WA, YOUR DRAWING OF A WALL WILL LOOK AS SOLID AND AS ENDURING AS THIS OLD WALL RIGHT HERE.

>> OKAY.

HERE WE ARE.

BACK AT THE DRAWING ROOM.

I THINK FOR MY WALL, I WOULD LIKE TO MAKE A NEW WALL.

I DON'T WANT TO DRAW THE OLD WALL THAT WE WERE LOOKING AT WITH ALL THE WEEDS GROWING IN AROUND IT.

I WANT TO DRAW MY OWN WALL AS IF I WERE MAKING IT MYSELF.

SO I AM GOING TO -- FIRST I WANT TO ESTABLISH A PLANE OF LAND HERE FOR US TO WORK ON.

LET'S SEE, WE COME UP AND GO UP THE HILL A BIT HERE.

THIS WILL BE WHERE I BUILD THE WALL IN THE DRAWING.

LET ME -- SO THAT I FEEL LIKE IT'S LANDS I AM GOING TO PUT A TREE ON IT, OTHERWISE IT JUST LOOKS LIKE A LINE TO ME.

I WILL BEGIN THE TREE OVER HERE.

JUST TO GIVE ME A SENSE THAT WHAT I AM DEALING WITH HERE IS A PIECE OF EARTH.

NOT A LINE ON A PIECE OF PAPER.

AND I GUESS THAT WE MIGHT AS WELL DECIDE WHERE WE ARE GOING TO MAKE THE LIGHT.

I WOULDI WOULD LIKE IT TO COME M THIS SIDE OF THE PICTURE IN ORDER TO HIGHLY THE STONES IN THE WALL, SO WE WILL JUST BENDS -- WE WILL PUT SOME SHADOWS OF THESE LIMBS AROUND THE TREE AND HIGHLIGHT -- SHADOW THE LEFT SIDE OF THE TREE, AND THAT'S GOING TO REMIND US WHERE THE LIGHT IS COMING FROM.

THIS IS FOR ME SO I CAN HAVE A LOOK AT THE PLACE I HAVE IN MIND.

WHAT THE HECK, I MIGHT AS WELL MAKE SOME SAP SUCKER HOLES ON THAT TREE.

THE SAP SUCKERS, THEY DRILL THE HOLE.

THEY DON'T SUCK THE SAP.

THEY DRILL THE HOLES, AND THEN THE SAP DRIPS OUT OF THE HOLES, AND INSECTS COME TO EAT THE SAP, AND THEN THE SAP SUCKERS COME BACK AND GRIND THE INSECTS DOWN.

NOW, I HAVE GOT A FEELING HERE OF THE PLACE, THE LAND THAT WE ARE GOING TO BUILD OUR STONEWALL.

WE WILL BUILD THE STONEWALL OUT OF THE STONES THAT WE ARE TAKING FROM THIS AREA OF THE LAND, NOT THE AREA BACK HERE.

IN FACT, THIS IS A ROCKY PIECE OF LAND.

WE ARE GOING TO PUT A ROCKY OUTCROPPING ON THIS LAND RIGHT OFF THE BAT.

REMEMBER THAT OUTCROPPING THAT I SHOWED YOU OUT THERE.

THIS IS NOT A BROKEN PIECE OF ROCK.

THIS IS GOING TO BE ONE OF THOSE SOLID OUTCROPPING STICKING UP OUT OF THE GROUND, AND REMEMBER THE TALL GRASSES THAT GROW AROUND THOSE OUTCROPPINGS.

SO WE CAN SEE WHAT WE HAVE ON THIS SIDE OF THE PICTURE -- ACTUALLY, IN THE PART OF THE PICTURE THAT IS NOT DRAWN, THE PART THAT THE VIEWER IS STANDING IN, WE ARE TELLING THEM, YOU ARE STANDING OVER WHEN ON THE SIDE THAT WE GOT THOSE ROCKS FROM.

AND NOW WE BRING THE ROCKS OVER.

WE ARE GOING TO PILE THEM ONE AT A TIME.

WE WILL BRING ONE ROCK OVER HERE AND PILE IT UP.

IN FACT, REMEMBER HOW HEAVY THESE ROCKS ARE.

THIS BOULDER, IN FACT, IT'S A PIECE OF ROCK, A LARGE PIECE OF ROCK.

WE HAVE TO REMEMBER HOW THE WEIGHT OF THE BOULDER IS GOING TO BE SINKING ITSELF DOWN INTO THE LAND AS WE PUT IT ON THIS LAND.

IT'S GOING TO PUSH DOWN INTO THE LAND.

WE HAVE GOT ONE BOULDER MOVED OVER TO OUR WALL.

GIVE IT SOME DIMENSION, IN FACT, I WILL GIVE IT SOME CHARACTER ON THE FRONT HERE.

THAT'S ONE.

BRING OVER THE NEXT BOULDER.

THIS ONE WILL MAKE IT A NICE BIG ONE, BUT WE WILL NOT MAKE IT SO SQUARE.

WE LIFT THIS ONE OUT.

THERE.

IN FACT, NO NOW THAT WE ARE FILING THE BOULDERS ON THE LAND, THEY ARE GOING TO SPREAD A SHADOW ACROSS THE LAND.

AS WE LAY THEM, AND WE WILL PILE ANOTHER ONE HERE, BUT WE WON'T SHOW IT ALL.

ONE OF THE NICE THINGS ABOUT WHEN YOU ARE DRAWING PILED STONES, YOU CAN START TO LET YOUR PENCIL GET IN BETWEEN THE STONES.

YOU SEE THAT?

IT STARTS TO LOOK LIKE -- THE STONES ARE NOT ONLY NEXT TO ONE ANOTHER, BUT THE CREVASSES BETWEEN THEM, YOU CAN JUST IMAGINE A SNAKE MOVING ALONG THE STONEWALL AND GOING RIGHT IN BETWEEN THESE TWO INTOWRLDZ.

-- IN BETWEEN THESE TWO BOULDERS.

WE ARE GOING TO PILE STONES ALL THE WAY DOWN LIKE THIS.

SO THAT I DON'T WRECK MY PICTURE BY SMEARING IT, I WILL JUST CONCENTRATE OVER HERE AND PILE SOME STONES HIGHER.

I WILL TAKE ANOTHER -- THIS ONE WILL BRING OVER A BOULDER THAT IS NOT SO HIGH BUT MORE FLAT.

I MUST HAVE GOTTEN SOME RAGWEED IN MY THROAT WHILE WE WERE OUT THERE.

THERE, IT IS STARTING TO SHAPE UP.

I WANT TO PUT A LITTLE DETAIL ON THESE FEW BOULDERS UP HERE BEFORE I FINISH OFF THIS TREE.

THIS TREE IS BEHIND THE WALL, AND WE WANT TO MAKE IT LOOK LIKE IT'S BEHIND THE WALL AND NOT STICKING OUT FROM THE TOP OF THE WALL, SO THE TRICK THAT I GUESS WOULD BE TO BRING SHADING DOWN, AND REALLY SHADE IT BEHIND THERE.

IN FACT, MAYBE WE OUGHT TO BRING A BIT OF SHADING ACROSS THE FRONT OF THE TREE JUST TO MAKE IT LOOK LIKE IT GOES DOWN BEHIND THERE.

SEE HERE, I HAD SOME LIGHT COMING THROUGH HERE.

NOW THE TREE IS BEHIND THERE, SO WE HAVE TO MAKE SURE THAT'S DARK, HOWEVER THE TREE LINE% WOULD COME DOWN HERE AND WOULDN'T BLOCK OFF THIS LIGHT COMING THROUGH.

SO WE WILL LEAVE THAT OPEN.

THAT WILL GIVE US A SENSE THAT THE TRUE, ACTUALLY, EXISTS BEHIND THE WALL RATHER THAN STICKING OUT ON TOP OF IT.

WE WILL DO SOME SHADING ON THIS TREE AND THEN -- WE ARE NOT SHADING TREES TODAY, WAIT A MINUTE, WHY WOULD THAT SAP SUCKER STOP THERE.

WE WILL PUT A FEW MORE SAP SUCKER HOLES IN THE THICK PART OF THE TREE.

NOW, REMEMBER WHEN WE WERE OUTDOORS I SHOWED YOU TO LOOK AT THE SURFACES OF EACH BOULDER THAT YOU ARE LOOKING AT AND TO SEE THEM AS SEPARATE SURFACES WITH SEPARATE DETAILS AND MARKS AND FISSURES.

THAT'S WHAT I'VE BEEN DOING HERE, I AM GOING TO DO THIS NOW ON THIS VERY LARGE ONE SO THAT YOU CAN SEE HOW I AM GOING IT.

I AM GOING TO CONSIDER THAT THIS ONE HAS ONE SURFACE HERE, AND I AM GOING TO MAKE THAT ONE, SINCE THAT SURFACE IS THE FARTHEST FROM THE LIGHT, I WILL KEEP DARKENING THAT AS WE HAVE TO.

IT HAS ANOTHER SURFACE HERE BECAUSE IT'S SORT OF EDGED.

IT'S NOT REALLY A FLAT BOULDER.

I WANT IT TO LOOK EDGED SO HERE, BUT IT IS NOT AS DARK SO WE WON'T SHADE TOO MUCH.

I AM GOING TO GIVE THIS A LITTLE SURFACE ALL THE WAY THROUGH THE CENTER OF THIS BOULDER, I AM GOING TO MAKE THIS LOOK LIKE THIS PART OF THE BOULDER STICKS OUT FARTHER THAN DOWN HERE.

THIS PART OF THE BOULDER.

SO I AM GOING TO ADD ANOTHER SURFACE UNDER THERE.

AND THEN I AM GOING TO GIVE IT A CRACK, TOO.

RIGHT THROUGH, RIGHT THROUGH THE HEART OF THE THING.

RIGHT THERE.

DOWN HERE THE CRACK WILL WIDEN THAT CRACK.

ON THIS SURFACE AREA WE ARE GOING TO MAKE THAT LOOK FLAT BUT I WANT TO PUT SOME LIKEN GROWING ON IT.

SO JUST START WITH JUST A LITTLE OUTLINE.

PUT MORE LIKEN THERE -- THERE, A LITTLE MORE LIKEN THERE.

ACTUALLY WE COULD HAVE THAT PEELING UP A BIT AROUND THE EDGES SO WE CAN GIVE THAT A SURFACE ON THE EDGE THERE.

THE MORE WE WORK ON ONE SURFACE, THE MORE INTEREST WE ADD TO THAT BOULDER.

I AM GOING TO MAKE THIS THE TOP OF THE BOULDER.

WE WILL GIVE THAT MORE LIGHT.

YOU SEE WHAT I MEAN, THOUGH?

COULD WORK AND WORK AND ADD ALL SORTS OF THINGS TO ONE BOULDER, AND GIVE IT A LOT OF INTEREST ALL BY ITSELF.

AND IN FACT, HERE, THIS IS THE DARKER I MAKE THIS, THE MORE ANGULAR I CAN MAKE THAT SURFACE IN HERE.

YET AT THE SAME TIME, IT LOOKS LIKE ONE BOULDER EVEN WITH THIS DETAIL NEST SURFAC -- IN ITS SU.

THIS ONE HERE, TOO, THIS IS A LITTLE BRIGHT, I THINK, IN THIS AREA HERE, SO WE WILL SHADE THIS FRONT OF IT.

THERE.

IT'S STARTING TO LOOK LIKE OLD STONES THAT WE HAVE DUG OUT AND PILED THERE.

IF I WANT TO MAKE THIS BOULDER APPEAR AS THOUGH IT IS ACTUALLY LAYING ON TOP OF THIS ONE WITH ITS EDGE COMING FORWARD RATHER THAN BEING EXACTLY ON TOP OF IT, I COULD JUST ADD A SHODO UNDER HERE.

SEE THAT, THAT GIVES THE FEELING THAT THIS BOULDER COMES OUT A LITTLE FARTHER.

ON TOP OF THAT ONE.

WHAT DID I TELL YOU?

JUST LIKE BUILDING A WALL BUT IT'S MORE THAN BUILDING A WALL.

ACTUALLY, I WAS WRONG OUT THERE.

WHEN YOU DRAW A WALL, YOU DON'T ONLY BUILD IT, YOU, ACTUALLY, CREATE THE GEOLOGY IN EACH OF THE BOULDERS YOU DRAW.

FOR INSTANCE, HERE, I CAN PUT A HOLE VEIN OF WATERS THROUGH THIS ONE MAYBE.

SEE THAT?

ALL RIGHT, YOU DRAW ONE BOULDER AND YOU CAN PRETTY MUCH KEEP DRAWING BOULDERS, SO WHAT I AM GOING TO DO IS JUST SHOW YOU ONE MORE THING ABOUT BOULDERS.

BEFORE I OUTLINE IN THE REST OF THE WALL.

REMEMBER I WAS TELLING YOU HOW HEAVY A BOULDER CAN BE.

THE WAY YOU PICK WEIGHT IN A DRAWING -- DEPICT WEIGHT IN A DRAWING IS BY ADDING A HEAVIER LINE ON THE BOTTOM OF WHAT IT IS THAT YOU ARE DRAWING, LIKE HERE, SEE THIS?

AND A MUCH LIGHTER LINE ON THE TOP.

SEE HOW LIGHT THAT LINE IS?

YOU CAN SEE THAT LOOKS HEAVIER THAN IF I WERE TO BOLDLY OUTLINE THE TOP OF IT.

VERY PERFECT EXAMPLE RIGHT HERE.

I AM GOING TO MAKE IT LOOK LIKE IT IS NOT AS HEAVY AS THIS BOULDER BUT IT IS HEAVY ENOUGH TO BE DARKER ON THE BOTTOM AND MUCH LIGHTER ACROSS THE TOP.

LIKE THAT.

OKAY, I WILL OUTLINE IN THE REST OF OUR WALL QUICKLY, AND I WILL WORK FROM THIS WAY OVER, AND THEN I WILL GET BACK TO THE LAND IN OUR DRAWING.

THAT WEIGH OF THE BOULDER IS SINKING INTO THE GROUND HERE.

WE ARE GOING TO MAKE THE WALL PETER OFF TO THE END HERE.

IN FACT, WE WILL SHOW WHERE IT FELL APART RIGHT ABOUT HERE.

PUT SMALL STONES NEXT TO THIS LARGE BOULDER, AND I WOULD CONSIDER THIS A STONE.

THIS IS A BOULDER, AND SAY THESE WOULD BE SMALL STONES.

MAYBE SOME PEBBLES DOWN HERE.

THERE IS THE END OF THE WALL, AND I WANT TO STACK A FEW MORE.

UP HERE.

THIS ONE IS MORE BOULDER SHAPES, AND IN FACT, WE WILL PUT ONE LIKE THIS.

THIS WILL GIVE A LITTLE INTEREST HERE, KIND OF A WEDGE IN BETWEEN THESE TWO.

REMEMBER THE ROUND STONE THAT I COULD MUST HAVE COME FROM THE STREAM BED, WE WILL PUT A NICE ROUND ONE HERE.

A COUPLE SMALL GUYS.

LAYING ON TOP, SOME ARTIST CAME BY AND DECIDED TO REPILE THEM TO MAKE THEM LOOK NICE.

AND ABOUT -- THAT'S ABOUT ENOUGH TO MAKE OUR WALL LOOK GOOD AND SOLID AND YET AT THE SAME TIME A LITTLE BIT FALLING APART TOWARDS THE END.

I CAN'T STOP MYSELF, I WILL PUT ONE MORE HERE.

THERE.

NOW I WANT TO GO BACK TO THE LAND UNDERNEATH THESE BOULDERS.

OVER HERE.

WHEREVER THE STONES ARE, OR WHEREVER THE ROCK, THE MATERIAL ROCK IS, THE GRASS DOES GROW CALLER, SO NEXT TO THE WALL WE WILL LET THE GRASS GROW A LITTLE BIT TALLER NEXT TO KN -- RIGHT O THESE.

OUT HERE WE WILL KEEP THE GRASS SHORTER.

SEE, GET CLOSE TO THE ROCK AND START GETTING TALLER.

GET AWAY FROM THE ROCK AND YOU GO SHORTER.

WATCH THIS, AS SOON AS I GET IN CLOSE TO THIS ROCK AGAIN.

IN FACT, I WILL MAKE THAT ONE COME TO A FRUITION HERE.

THE FARTHER AWAY THE SHORTER IS GRASS IS.

YOU COME UP CLOSE TO THIS ROCK FACE, THIS OUTCROPPING STICKING OUT OF THE GROUND, UP IN THE FRONT HERE, WE WILL MAKE THIS GRASS TALL ALL AROUND IT.

WE HAVE TO SHADOW THAT JUST AS IF WE WERE DRAWING THE FACES OF ONE OF THOSE BOULDERS.

BUT THIS ONE, THOUGH, THIS ONE INTEGRATES INTO THE SOIL HERE.

RIGHT ABOUT UNDER HERE IS WHERE I LIFTED THAT UP AND FOUND THOSE ANTS.

THERE, SEE THAT?

THAT'S STARTING TO LOOK GOOD.

THAT'S LOOKING LIKE A SOLID PIECE OF EARTH.

I DON'T EVEN LIKE THE TERM LANDSCAPE.

I DON'T KNOW WHAT IT MEANS.

WHAT DOES IT MEAN?

I WOULD LIKE TO SAY THAT WE ARE DRAWING A PIECE OF LAND HERE.

OKAY COME ACROSS HERE AND KEEP WORKING OVER OUR ROCKY OUTCROPPING.

WE CAN MAKE SOME OF THESE SO TALL THAT THEY HAVE COME TO A TOP.

SEE THAT?

YOU COULD ADD ANOTHER DIMENSION TO THIS PICTURE AND START MAKING IT LOOK LIKE THERE IS A BREEZE PUSHING THROUGH.

WATCH.

SEE THAT?

WHILE YOU ARE DRAWING, THE REAL WORLD IS RUNNING BY IN YOUR MIND.

IT'S LIKE A REPLAY OF ALL OF THE THINGS YOU HAVE SEEN AND ALL THE THINGS THAT YOU REMEMBER, AND MOST IMPORTANTLY ALL THE THINGS THAT YOU UNDERSTAND.

THE THINGS YOU UNDERSTAND ARE THE THINGS THAT SHOW UP BEST IN YOUR DRAWINGS.

PEOPLE WHO KNOW ABOUT CARS CAN DRAW A CAR PRETTY, PRETTY WELL.

AND THE PARTS OF THE CAR THEY KNOW THE MOST ABOUT THAT'S THE PART THEY DRAW WITH MOST AUTHORITY.

I HAVE COME TO THE POINT NOW WHERE I AM STARTING TO SEE MY ORIGINAL PLANE THAT I STARTED THIS DRAWING WITH.

YOU SEE BACK HERE?

I AM GOING TO FOLLOW THAT PLANE AND ADD JUST A LITTLE ON THIS SIDE OF THE WALL TO GIVE US THE SENSE OF THE BACK SIDE OF THE WALL HERE.

THEN I AM GOING TO TAKE IT ONE STEP FARTHER AND I AM GOING TO ACTUALLY ADD ANOTHER PLANE HERE.

THIS IS A HILL, AND I AM GOING TO PUT MY BARN THERE.

EVENTUALLY.

I DON'T WANT TO DO THAT RIGHT NOW.

I WANTING TO AN OUTLINE OF IT HERE.

WHERE I AM HEADED NOW, I AM GOING TO LEAVE THE FOREGROUND AND GO WAY BACK AS FAR AS I CAN BACK TO THE MOUNTAINS IN THE DISTANCE.

THESE ARE GOING TO BE OLD MOUNTAINS.

THE SAME WAY THAT -- THE SAME TYPE OF MOUNTAINS THAT I SHOWED YOU.

THEY ARE ALL VERY SMOOTHLY ERODED, BUT I WANT TO MAKE ONE OF THEM.

I WILL PUT A MON ADINOCK IN THERE.

ONE WILL BE TALLER AND MORE PREDOMINANT THAN THE REST, AND THAT'S WAY OFF IN THE DISTANCE.

WAY OFF.

AND I WILL PUT MOUNTAINS OUT THERE TO SHOW THAT'S NOT THE ONLY MOUNTAINS OUT THERE.

THERE.

AND FROM THE MOUNTAINS THERE, I AM GOING TO COME A LITTLE FARTHER FORWARD AND ADD SOME HILLS AND VALLEYS.

THOSE HILLS AND VALLEYS WILL BE MORE PREDOMINANT.

THEY WILL BE CLOSER TO US, AND THEY ARE ALL GOING TO BE ABOUT THE SAME SIZE, THESE HILLS, THESE TWO HILLS.

THERE, SO I CAN START PUTTING IN DETAIL AROUND THIS.

IT'S INTERESTING, TOO, YOU KNOW, ON THESE HIGH POINTS OF MOUNTAINS, OFTEN IF THEY ARE IN THE BALD THEY HAVE A CERTAIN TYPE OF TREE -- TYPE OF TREE THS DOMINATED THEM, AND IF THEY ARE HIGH ENOUGH, THEY ARE DARK TREES LIKE SPRUCES AND, YOU KNOW, EVERGREENS, AND THINGS THAT SEEM TO BE ABLE TO LIVE UP THAT HIGH AND WITH A LESS OF A -- AN AMOUNT OF HARDWOODS MIXED IN WITH THEM, SO I WILL MAKE THIS DARKER THAN THE SURROUNDING WOODED MOUNTAINS.

AND WE ARE NOT GETTING INTO INDIVIDUAL TREES HERE.

WE ARE JUST GOING TO SUGGEST A SHADING, JUST SUGGEST WOODED MOUNTAINS INSTEAD OF A BALD HEADED MOUNTAIN.

WE CAN BREAK UP THE QUON TOUR OP THE CONTOUR ON THE TOP AND MAKE IT LOOK LIKE WOODS.

SEE, ACTUALLY, THIS -- WE WILL MAKE IT EVEN LIGHTER OVER HERE BECAUSE WE WILL MAKE THAT RANGE HEADED A BIT TOWARDS AWAY FROM US, SO A BIT ON AN ANGLE AWAY SO THAT THE -- IT FADES OUT A BIT OVER ON THIS SIDE.

AS WE COME IN HERE, WE WILL DARKEN IT UP AND MAKE IT LOOK LIKE IT'S MADE OF SOMETHING DIFFERENT, SOMETHING DIFFERENT GROWING ON IT.

IT'S NOT THE SAME AS THE REST AROUND IT, BUT YOU CAN SEE IT HAS A NICE MOLDED, JUST LIKE THIS SMOOTH, MOLDED OUT MOUNTAIN, AND THAT'S CREATING A BIT OF A RESISTANCE, THAT'S OFFERING A LITTLE MORE RESISTANCE TO THE EROSION WORKING ON THIS WHOLE RANGE.

WE DON'T WANT TO MAKE THAT TOO DARK BECAUSE IT WILL COME TOO FORWARD IN OUR PICTURES, SO I WANT TO KNOCK OUT SOME OF THAT.

HERE, OOPS, KNOCK THAT OUT A LITTLE.

THAT SEEMS TO BE ENOUGH TO SUGGEST THE MOUNTAINS IN THE DISTANCE.

THESE ARE GOING TO BE SO FAR AWAY I WILL JUST PUT A -- BARELY A BIT OF GRAY ON THEM.

WE CAN GO BACK EVEN FARTHER AND MAKE A MORE JAGGED RANGE BACK THERE, LOOK.

SEE THAT?

ON THOSE WE WON'T PUT MUCH OF ANY SHADING.

YOU WANT TO SUGGEST DISTANCE LIKE THIS, YOU GRADUATE YOUR GRAYS FROM DARKER GRAYS UP FORWARD TO THE LIGHTER GRAZE IN THE BACK.

I THINK THERE WAS A A LITTLE TOO DARK IN THE BACK SO I WILL LIGHTEN IT UP EVEN MORE.

WE HAVE GOT OUR DISTANT MOUNTAINS.

WE WANT TO START A CLOSER HILL.

I DON'T WANT TO DETAIL THESE TOO MUCH.

I JUST WANT TO SUGGEST THERE BEING THERE, SOMETHING CLOSER THAN THIS MOUNTAIN, SO I AM GOING TO HAVE TO MAKE IT DARKER TO MAKE IT LOOK CLOSER.

WE ARE JUST DEALING WITH A SUGGESTION OF SOME BACKGROUND.

WE WILL FILL THAT IN FAST.

OKAY, NOW THAT IT'S FILLED IN I CAN MAKE IT LOOK MORE LIKE A WOODED HILL, SOME HARDWOODS IN THIS HILL.

JUST TWO TREETOPS, IN THE SUMMERTIME WHEN YOU ARE SKETCHING THESE HILLS IN, HARDWOOD HILLS, YOU JUST SUGGEST THREE TOPS.

IF THIS WAS SPRING, I WOULD SUGGEST SOME -- IF IT WAS SPRING I WOULD SUGGEST A BIT OF TRUNKS AND BRANCHES, BUT WE ARE GOING TO MAINLY MAKE IT LOOK LIKE A BUNCH OF HARDWOOD TREETOPS COMING DOWN HERE AND GOING DOWN LOW.

THIS IS SLOPING DOWN TO THE BACK SIDE OF THIS SLOPING PIECE OF GROUND HERE.

THIS PASTURE OR MEADOW.

THERE WE GO, AND YOU CAN EVEN -- WE WILL PUT AN EVERGREEN IN THE FOREGROUND OF THAT.

DOWN AT THE BOTTOM OF THAT AREA.

THERE.

THOSE ARE EVERGREENS GROWING DOWN IN THE HOLLOW.

WHERE I GREW UP IN PENNSYLVANIA, WE ALWAYS HAD THESE HEMLOCKS GROWING DOWN INTO THE HOLLOWS.

I ALWAYS USED TO FEEL LIKE A GNOME WHEN I WOULD GO DOWN INTO THE HOLLOW NEAR WHERE WE LIVED.

STAND AMONGST THOSE CENTURY TALL OLD 100-FOOT TALL HEMLOCKS IN THE HOLLOW.

THIS WILL GIVE US SPACE BEHIND OUR WALL, TOO.

I WOULD LIKE TO PUT IN A COUPLE MORE -- CAN YOU SEE OVER HERE?

I WANT TO PUT IN -- I WILL SKETCH IN A FEW CLOSE YOUNG EVERGREENS.

YOU DO TREES -- LOOK, ALL YOU NEED TO DO IS START WITH THEIR BRANCHES, AND THE BRANCH STRUCTURE, AND ADD THE AREAS WHERE THE NEEDLES WOULD GO.

YOU DRAW THEM THE WAY THEY GROW.

THIS GROWS DOWN HERE BEHIND THE STONEWALL, BUT YOU ARE COMING UP, AND YOU ARE CATCHING THE TREE AT THE LAST THIRD HERE YOU MAKE THIS LOOK LIKE IT WAS BROKE WHEN IT WAS YOUNG, LIKE THE TOP WAS BROKEN AND IT GREW A SECOND CANDLE HERE, SEE.

ADD A LITTLE HISTORY TO THAT TREE.

IT LOOKS LIKE WHEN IT WAS YOUNGER IT GOT SNAPPED OFF AT THE TOP.

I DON'T WANT TO FINISH THESE TREES BUT I WANT TO PROVIDE THE SPACE FOR THEM HERE FOR LATER.

I WILL ADD THE REST OF THOSE NEEDLE AREAS LATER, BUT TODAY'S DRAWING IS ABOUT TH LAND.

OKAY.

FOLLOW ME DOWN HERE AND WATCH.

I AM GOING TO PUT IN TALL GRASSES IN THIS MEADOW.

IF YOU WANT TO SUGGEST TALL GRASSES ON LAND, A WHOLE MEADOW OF TALL GRASSES, THEN YOU BE CAREFUL NOT TO PROVIDE A SURFACE OR A RIDGE OR A SHAPE TO THAT LAND.

ALL WE KNOW ABOUT THIS LAND IS THAT IT SLOPES DOWNWARD.

IF I WANTED TO MAKE IT LOOK LIKE SHORT GRASSES, I WOULD GIVE IT A DEFINITE RIDGE.

SEE THAT.

I COULD DO THAT.

BUT WHAT I AM DOING, I WANT THIS TO LOOK LIKE TALL GRASSES, SO I AM JUST GOING TO -- I AM NOT GOING TO PLAY UP THE RIDGE, THE EARTH, JUST THE GRASSES IN THIS LAND.

THAT REMINDS ME, REMEMBER THE -- LET ME GET MY ERASER -- MY SHARPENER.

REMEMBER IN THE STONEWALL I FOUND THAT MILK WEED GROWING UP THROUGH THE STONES?

I THINK THAT I WILL PUT THAT IN HERE.

HOW THE HECK DO THEY LOOK?

THEY HAVE LONG LEAVES LIKE THIS, RIGHT?

I WANT TO SEE IT WHEN IT BLOOMED, SO I WILL PUT A BLOOM ON IT.

THAT MAIN BE PERFECT MILK WEED BUT THAT LOOKS LIKE ONE GROWING UP OUT OF THERE.

OKAY, NOW I AM COMING DOWN.

I THINK I AM GETTING CLOSE.

LET ME PUT THE BARN IN.

REAL QUICK.

HOLD ON.

I WILL PUT ONE OF THOSE WINDOWS IN LIKE OURS HAS.

DARK INSIDE A BARN EVEN IN THE MIDDLE OF THE DAY.

ESPECIALLY IN THE WINDOW OF A SILO.

LIGHT COMING FROM THIS SIDE.

YOU KNOW WHAT, THIS IS SOMETHING THAT I ALWAYS WANTED ON MY BARN, BUT I AM AFRAID TO CLIMB UP THERE AND PUT IT ON SO I WILL PUT IT ON HERE.

I DON'T HAVE TO CLIMB TO HIGH TO PUT ONE OF THESE GUYS.

THAT'S THE GREAT THING ABOUT DRAWING.

YOU CAN MAKE UP THE WORLD THE WAY YOU WISH THAT YOU HAD THE COURAGE TO CREATE IT FOR REAL.

WE CAN PUT A WEATHER VANE ON THAT, SOME PIGEONS.

THERE IS ONE PIGEON ON THAT SIDE AND ANOTHER PIGEON ON THIS SIDE SITTING.

ONE PIGEON COMING IN HERE TO S SIT.

THERE.

YOU KNOW WHAT I REMEMBER?

REMEMBER "JAWS."

I THINK I WILL PUT JAWS UP HERE.

REMEMBER THAT BOULDER I SHOWED YOU THAT HAD THOSE TEETH?

LET'S SEE.

I THINK LIKE THAT, SOMETHING LIKE THAT.

IN ITS ROCK FACE.

IT WAS THOSE.

I WILL MAKE THEM STAND OUT.

BY SHADOWING ON THE SIDE OF THE LIED, I WILL MAKE THAT LOOK LIKE -- SEE THAT?

ROCK IS THE MATERIAL, AND THIS IS A PIECE OF ROCK, A LARGE PIECE OF ROCK, A BOULDER, THAT'S JAWS.

THIS DRAWING GOES OVER WELL, I THINK I WILL DO ANOTHER SEQUEL TO THAT ROCK, TOO.

AND THEN THIS WOULD BE A SMALL BOULDER IN MY MIND, AND LIKE I SAID, THIS IS A STONE FOR DRAWING PURPOSES, AND THESE ARE PEBBLES.

AND I THINK THAT I AM GOING TO LET THOSE PEBBLES TAKE ME TO MY SIGNATURE.

JUST INDULGE ME ON THESE ROCKS.

OKAY, I WILL SIGN IT NOW.

♪ ♪?

DRAWING FROM NATURE IS MADE POSSIBLE IN PART BY A GRANT FROM A FOUNDATION.

JIM ARNOSKY IS THE AUTHOR OF INJURIES DRAWING FOR IS THE AUTR OF INJURIES DRAWING FOR NATURE."

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