How to Draw Trees for Your Tattoo Concept Sketches
The best way to learn tattoo drawing is to do it regularly from LIFE no matter what the subject is. Trees with their millions of (sometimes moving) leaves and the many shades of green are a special challenge however. So the main question is how such a "mission impossible" can be brought to a happy end. I can show here only one possible way (my way) as inspiration for your very own explorations.
I have many sketchbooks which contains hundreds of tattoo conceptual drawings. This here is a tattoo sketch of a fruit tree meadow in late autumn.
I have many sketchbooks which contains hundreds of tattoo conceptual drawings. This here is a tattoo sketch of a fruit tree meadow in late autumn.
As you can see in the unfinished parts, the first step was to draw the outlines of tree stems and branches. In a second step the dark areas have been added. I often use short strokes in direction or in a 90° angle to the trunk and branch axes. By adding layers of overlapping hatches, one can get to the right tonalities step by step. At the same time, the hatches can resemble texture of bark
The tree trunks served also a grid and measure for proportions in the sketch. The size of the little church was determined in relation to the size of the bigger trunk on the left for example. Thickness and length of the trunks indicate spatial depth to the viewer. The thinner the trunk the further away it appears.
Outlines were used as a way to mark the form of the shadows. This was done in the beginning because the shapes of the shadows were shifting due to the sun’s movement. After creating the outlines, I proceeded to apply the necessary darkening strokes with a pen.
Outlines were used as a way to mark the form of the shadows. This was done in the beginning because the shapes of the shadows were shifting due to the sun’s movement. After creating the outlines, I proceeded to apply the necessary darkening strokes with a pen.
3 Vital Points in Creating a Tattoo Design That Features a Tree
There are three points that deserve special attention on a tree drawing.
1. The depiction of the foliage or branches
2. The connection between the foliage and the stem or trunk
3. The basis of the trunk—how the trunk grows out of the earth
The depiction of the multitude of branches, and the uncountable number of leaves is one of the major difficulties in drawing a tattoo of a tree. Summarizing and simplifying are often the only way to come to results within a given time span. There are very rare attempts to depict a complete tree, but these are really exceptions.
In the end you will end up with something that the great John Ruskin called the "confused mode of execution", which I applied when drawing the foliage of the group of trees below. The transition between foliage or the crown of the tree, and the stem is of particular interest for viewers.
Therefore I try to depict this part of the tree in a convincing way. Also the way you show how the tree is growing out of the ground is an important aspect which can make the tattoo sketch look natural or stiff.
In the beginning I would recommend to practice draw trees from a further distance, let say half a mile or so. The shape of the treetop and the proportions between trunk and top can be studied this way very well. Also the many details of the foliage do not irritate the viewer.
1. The depiction of the foliage or branches
2. The connection between the foliage and the stem or trunk
3. The basis of the trunk—how the trunk grows out of the earth
The depiction of the multitude of branches, and the uncountable number of leaves is one of the major difficulties in drawing a tattoo of a tree. Summarizing and simplifying are often the only way to come to results within a given time span. There are very rare attempts to depict a complete tree, but these are really exceptions.
In the end you will end up with something that the great John Ruskin called the "confused mode of execution", which I applied when drawing the foliage of the group of trees below. The transition between foliage or the crown of the tree, and the stem is of particular interest for viewers.
Therefore I try to depict this part of the tree in a convincing way. Also the way you show how the tree is growing out of the ground is an important aspect which can make the tattoo sketch look natural or stiff.
In the beginning I would recommend to practice draw trees from a further distance, let say half a mile or so. The shape of the treetop and the proportions between trunk and top can be studied this way very well. Also the many details of the foliage do not irritate the viewer.
Not a single tree trunk stands upright. They all tend to slightly lean in various directions. Also, the outline of the trunks is curved. At the connection of treetop and trunks, I used the same or similar tonality to connect the group of trees and to get a natural looking connection between trunk and foliage.
After some studies from a further distance, I would do a series of drawings from shorter distances. The most difficult distance is reached when the tree is still visible in full height, but with a maximum of details. From my experience, a study under the tree tops between the stems, is easier than a full size depiction of a complete tree.
After some studies from a further distance, I would do a series of drawings from shorter distances. The most difficult distance is reached when the tree is still visible in full height, but with a maximum of details. From my experience, a study under the tree tops between the stems, is easier than a full size depiction of a complete tree.
How to Illustrate the Trunk of a Tree in a Tattoo Design
Tree trunks are wonderful subjects to draw in a tattoo art. This is a study of a tree broken by a storm.
Drawing tree trunks means to study light and shadow on the trunk as it appear. You should also show the form and volume of the trunk, as well as study the many textures and surface characteristics, like bark, wounds and little branches and their stumps.
On the broken trunk, I have tried to represent he volume with parallel curved lines that get closer and closer in the shaded areas. These lines represent also the thin dark lines of the cracks in the bare timber.
I paid particular attention to the short pieces of broken branches, and the shadows the cast on the trunk. The form of those shadows follows the volume of the trunk and helps to convey the impression of a round trunk.
The same method was applied in the sketch of an oak trunk with some branches on the left. The basic tonality was established with thin, light horizontal lines. On top of that layer I put vertical, curved lines that followed the surface of the tree bark.
In addition to that, I added short vertical marks and circular marks to represent the texture of the bark. Here’s another full tattoo drawing made of a fruit tree meadow with drawings of the tree stems.
On the broken trunk, I have tried to represent he volume with parallel curved lines that get closer and closer in the shaded areas. These lines represent also the thin dark lines of the cracks in the bare timber.
I paid particular attention to the short pieces of broken branches, and the shadows the cast on the trunk. The form of those shadows follows the volume of the trunk and helps to convey the impression of a round trunk.
The same method was applied in the sketch of an oak trunk with some branches on the left. The basic tonality was established with thin, light horizontal lines. On top of that layer I put vertical, curved lines that followed the surface of the tree bark.
In addition to that, I added short vertical marks and circular marks to represent the texture of the bark. Here’s another full tattoo drawing made of a fruit tree meadow with drawings of the tree stems.
In this tattoo design conceptual sketch, the trunk and branches of some old chestnut trees are important parts of the composition. They are the contrasting element to the rigid box form of the house in the background, which is covered by wooden panels.
Rhythms and Patterns in Foliage
Each tree species shows a certain pattern or rhythm in the foliage and it is possible to characterize a tree by imitating this rhythm with your drawing marks. Van Gogh has given excellent examples how to use very simple marks to represent complicated masses of foliage.
In this drawing of the Abbaye Silvacane,Provence, the cypresses can be identified fairly easy, but the big Plata tree is much less convincing. The smaller round tree in the middle is a fig tree in reality. Below there is a recent study of apple trees. I tried to evoke the impression of the foliage by imitating the pattern I saw with the movements of my pen.
In addition to that texture lines, I put a layer of parallel hatches on darker areas or areas in shade. However, using contradicting line patterns comes with a price: If the lines conflict too much with each other one might lose the clarity of the drawing.
In addition to that texture lines, I put a layer of parallel hatches on darker areas or areas in shade. However, using contradicting line patterns comes with a price: If the lines conflict too much with each other one might lose the clarity of the drawing.
The third example is an attempt to draw a view in the Black Forest. In a way this tattoo sketch is nothing, but a field of pen strokes that imitate the rhythm of the landscape as it was perceived.
Some Tips to Help You Draw Trees Convincingly In Your Tattoo Concept Art
One really helpful tip is to combine detailed depiction of important areas with unfinished or blank areas. The second method is by illustrating dimensions, proportion as well as space by the surrounding of the tree.
1. The trunk
A stem looks convincing when the viewer sees how the tree grows out of the earth. For that reason I paid particular attention to area at the stems foot. Also, the play of shadows thrown by the foliage can add a lot to a drawing, especially when it´s combined with marks that emphasize the three dimensional form of a stem. In this case the dark stems seem to recede behind the light masses of foliage.
2. The foliage
In this concept drawing, I left a lot of space blank for the viewer with purpose.
1. The trunk
A stem looks convincing when the viewer sees how the tree grows out of the earth. For that reason I paid particular attention to area at the stems foot. Also, the play of shadows thrown by the foliage can add a lot to a drawing, especially when it´s combined with marks that emphasize the three dimensional form of a stem. In this case the dark stems seem to recede behind the light masses of foliage.
2. The foliage
In this concept drawing, I left a lot of space blank for the viewer with purpose.
As contrast, I executed some foliage relatively detailed in order to offer some visual pattern that the viewers use unconsciously, to fill the blank spaces with their own imagination. With purpose, I worked detailed on the leaves where the stem disappears behind the curtain of leaves.
I did this in order to get a natural connection between foliage and stem. I used the young tree in the foreground, with only a few branches yet as a kind of sample to illustrate the properties of foliage more detailed.
3. Proportion and space
The other trees in the background and behind the main trees are simply there to illustrate the general form and the proportions between stem and crown, as well as the space that they fill. This way, you can even stretch the imagination of the viewer outside of the frame of the drawing.
The drawing would not lose much of its meaning, if you would cut one quarter or third from the top, as full trees can be seen still on the right side.
I did this in order to get a natural connection between foliage and stem. I used the young tree in the foreground, with only a few branches yet as a kind of sample to illustrate the properties of foliage more detailed.
3. Proportion and space
The other trees in the background and behind the main trees are simply there to illustrate the general form and the proportions between stem and crown, as well as the space that they fill. This way, you can even stretch the imagination of the viewer outside of the frame of the drawing.
The drawing would not lose much of its meaning, if you would cut one quarter or third from the top, as full trees can be seen still on the right side.
Here are two life or plain air studies in Indian ink of local landscapes with trees. Both drawings were conducted in several sessions. The original size of the drawings is approx. 15"X10". Both drawings are part of a landscape tattoos sketchbook project.
A forest drawing study in charcoal
This is a forest study in charcoal. The size of the drawing is 18"X24". I use no easel only a plywood sheet as a support for the paper and I draw sitting on a small tripod chair. Charcoal is one of the most versatile drawing medium with a wide range of tonalities. I sometimes use charcoal when coming up with concept designs of tattoos.
The spot of grass in light in the center with the darkest trunk, and the dark pair of trunks in the background were drawn with purpose, as the areas with the strongest contrasts to attract the viewers’ eyes and keep them focused in the middle of the drawing or the finished tattoo.
One can look at this drawing as a study on contrast not only in tonalities between white paper and darkest charcoal, but also in form: small versus large, straight versus, blurred versus clear lines or shapes curved and so on.
The spot of grass in light in the center with the darkest trunk, and the dark pair of trunks in the background were drawn with purpose, as the areas with the strongest contrasts to attract the viewers’ eyes and keep them focused in the middle of the drawing or the finished tattoo.
One can look at this drawing as a study on contrast not only in tonalities between white paper and darkest charcoal, but also in form: small versus large, straight versus, blurred versus clear lines or shapes curved and so on.
Quick Sketches on a Walk Outdoors
Quick sketches, done in 5 minutes, on a walk are a good exercise to train the general forms of trees and their basic proportions. On my way home from my tattoo studio, I regularly have to sketch under time pressure.
This is the perfect condition to get quickly in a mode of flow and concentrated seeing and drawing, without the usual internal monolog and thinking. These drawings emerge in way "unfiltered" and therefore, appear somewhat fresher and more surprising than slowly executed drawings.
This is the perfect condition to get quickly in a mode of flow and concentrated seeing and drawing, without the usual internal monolog and thinking. These drawings emerge in way "unfiltered" and therefore, appear somewhat fresher and more surprising than slowly executed drawings.
It is good fun to explore the shape of a tree in a blind contour drawing and create tonalities later by hatching
Photographic Libraries of Tree Images
For those who cannot go out for own studies for whatever reason, there are great image resources which offer the opportunity to study drawing trees from photographs. See link below.
https://www.forestryimages.org/trees.cfm
https://www.forestryimages.org/trees.cfm