A 'found edge' is one that shows contrast to its background, it shows clearly the 'tones' (that is the lightness or darkness) at the opposite ends of the scale.

In a simple line drawing, 'found edges' are shown by a sharp line against White paper.

In a toned painting, one contrasting colour or tone against another.

A 'lost edge' may be a rounded edge, as in a ball, sphere or dome where an edge is seen against something of the same colour and the same tone. There can be an infinite variety of half seen edges, especially in sun or artificial light and makes the connection and disconnection of forms forward and backwards. A synthesis takes place. The essential shapes of the form are simplified and emphasis is placed upon these forms in space.(more interesting and less obvious than a line illustration for a magazine ).

First determine the light areas such as sun reflections in water, or shafts of light and fashion their shapes. The influence of light on objects will achieve the sort after 3 dimensional effect.

Drawing and painting in this sense is not concerned with imitating nature. It could be said that it is the purpose of a camera to do this. We must school our eyes to see and see again and then draw. Draw and draw repeatedly. The character and quality of a form, whatever it is, is more important than the superficial appearance. Once again, although there are no lines in nature, symbols representing the objects seen must be orderly and quickly transferred to the paper by light grey pencil lines before the memory fades. Choose the important, knowing what to leave out of a scene is as important as knowing what to include, reducing the scene ultimately to tones. Where there are minimal guidelines and this is the aim, judgement must be made before the painting commences as to where and how the brush-strokes are to be laid on.

A technique that fits what you have to say and how you want to say it will 'come off' as long as you do not think too long about it while actually drawing and painting. Much forethought is required.

Many paintings are killed by overworking and over-statement. None are ever ruined by too much observation of a scene before the drawing starts. Well-known formulae "to do" trees and clouds as a set of symbols are acceptable provided the end results are justified by the means. The techniques proposed with their effects if followed, even as formulae, will guarantee passable paintings. Good pictorial form is created with personal vision rather than using formulae.

. In a similar manner to hand writing, style develops naturally, it cannot be enforced, it must evolve. Gain confidence with a pencil by scribbling and doodling on scrap paper and then feel the urge to control the pencil in a more definite way. Make a comparison with the work of established artists to improve one's own indifferent work. By comparing good work the beginner is brought back to reality. Personal progress stagnates unless drawing is practised on a regular basis.

Illustrations are meant to convey that which the written word describes in an abstract symbolic way, bringing greater understanding and life to the words, realising that examples and demonstrations are essential to support the text.

1: left to right: Stables converted to craft shop and art gallery, Elizabethan Hall and Victorian Camellia House. Observed from the top of original boathouse across the lake.

2: Faint HB pencil outline shown strongly for clarity. Details of buildings taken from photographs. Lakeside tree heights have been varied to prevent monotony.

3:Actual painting size 20"x15". Mist on lake enhanced (February), frosty morning.

Bushes in foreground were outside the picture area but they were introduced to improve the picture composition. Middle tree omitted in mid distance for a lead to main centre of interest.

Minimal pencil lines. All that is required is the farm building and the line across the page. The rest can be painted in directly with the side and point of a round brush. Accuracy of position lines are not important.