Sketching the Moon: An Astronomical Artist's Guide

258 Pages·2012·12.17 MB·English

by  Richard Handy

Patrick Moore’s Practical Astronomy Series

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Sketching
the Moon
An Astronomical Artist’s Guide
Richard Handy
Deirdre Kelleghan
Thomas McCague
Erika Rix
Sally Russell
Richard Handy Erika Rix
Poway, CA, USA Zanesville, OH, USA
[email protected] [email protected]
Deirdre Kelleghan Sally Russell
Bray, County Wicklow, Ireland Berkshire, UK
[email protected] [email protected]
Thomas McCague
Oak Forests, IL, USA
[email protected]
ISSN 1431-9756
ISBN 978-1-4614-0940-3 e-ISBN 978-1-4614-0941-0
DOI 10.1007/978-1-4614-0941-0
Springer New York Dordrecht Heidelberg London
Library of Congress Control Number: 2011937227
© Springer Science+Business Media, LLC 2012
All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the
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Printed on acid-free paper
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This book is dedicated to lunar sketchers from all over the globe, for
whom it was written. To Cloudy Nights Telescope Reviews for the
encouragement and friendships that helped make this book possible.
To all who want to pick up the pencil or brush and try their hand at
representing the Moon.
− Richard Handy
To Bernard for his love, wonderful support, and expert advice. To my
children, Olwen, Owen, and Oona, who listened to Moon talk beyond
the call of duty. To my mam, Eileen, and in memory of my dad, Michael,
who gave me my first telescope. To my dear friend, Jane, who opened
my eyes to astronomical sketching.
− Deirdre Kelleghan
To my wife, Pattie, children Michelle and Thomas, my mother and in
memory of my late father, all of whom have always been supportive,
loving and make my life the joy that it is.
− Thomas McCague
In loving memory of my grandparents, Pauline and Charles Withers and
Elizabeth and Raymond Mayer, who enriched my life in so many ways
and taught me to always believe in myself.
− Erika Rix
To my father, Len, and the memory of my mother, Eileen, for their
enduring love and encouragement in all my endeavours, and for
their foresight in rousing a sleepy child to watch the first man
step onto the Moon.
− Sally E. Russell
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Foreword
Sketching celestial objects is a habit that goes back to my previous astronomical incarnation as a
teenager living under dark rural skies. The books I read on amateur astronomy back then instructed
the amateur to sketch objects viewed, and I did so. It was simply part of the hobby, as I understood
it. In the years since, I have learned that making such a sketch is actually as much an observing tech-
nique as a means of making a complete record. Going from the eyepiece to the paper and back, to
make sure you have recorded what can be seen, causes you to look more closely and to think about
what you see. Such interaction over time makes you a more careful and perceptive observer. For this
reason, and to encourage people to try their hand at this technique, most books promote the idea that
the act of sketching is far more important to the observer than the beauty of the result, a perception
I shared for a time.
Involvement in the online astronomy forum Cloudy Nights, however, has changed that perception.
The forum community includes a number of astronomy artists (as well as a separate forum to accom-
modate them) who not only share the results of their work, but freely offer advice to others interested
in making better astronomical sketches. Like many who count themselves members of the Cloudy
Nights community, I have learned a great deal about sketching from these artists. To this day I still
can’t hold the proverbial candle to artists such as the authors of this book, but looking over their col-
lective shoulders in the forum has allowed me to steadily (if slowly) improve my own abilities to a
degree I would likely not have achieved on my own. For although practice is surely the key to
improvement, without instruction what do you practice?
A forum is a useful thing but lacks the portability of a book. In 2007, several of these master
sketchers, including two of the authors of this current volume, collaborated on a book in the Patrick
Moore’s Practical Astronomy Series entitled A stronomical Sketching: A Step-by-Step Introduction .
This very accessible manual for the astronomer-artist covers a wide range of objects commonly
observed by amateur astronomers, and has become one of my most frequently used and frequently
recommended astronomy references. Of course, it includes a solid introduction to sketching features
viewed on the Moon.
But the Moon presents some unique challenges to the astronomer-artist, dear Selene being so fond
of tricks of the light, and therefore deserves a more thorough treatment than a general manual of
technique can provide. S ketching the Moon: An Astronomical Artist’s Guide , by five of the best lunar
observer-artists working today, steps in to effectively fill this need. All the major types of lunar fea-
tures are covered, with a variety of sketching techniques applied to each. These techniques are
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explained and illustrated in ways that take the mystery out of artwork, rendering it (so to speak) more
accessible to anyone interested in going farther than merely illustrating their notes.
So, here we have at last the necessary instruction, neatly packaged and portable, that allows
practice to make perfect. All you need now are a few art supplies and a clear moonlit night.
Thomas Watson
Preface
Due to its proximity and lack of an obscuring atmosphere, our rocky, cratered, and lava-flooded
Moon is the only celestial body that displays three-dimensional form on its surface when viewed
through earthbound binoculars or telescopes. All other planets and their moons are either so distant
or so cloud covered that there is virtually nothing in terms of tangible surface form to sketch or pho-
tograph. In contrast, the Moon provides a surprisingly rich diversity of three-dimensional shapes and
contours for the lunar sketcher. From the smallest crater to huge, circular mountain ranges built by
basin-forming impact events, and the mare formed by lava flooding those basins, the Moon’s rugged
and varied topography reflects the history and the violence of impacts and the secondary processes
of volcanism. Lit by the Sun during the changing angles of the long lunar day, the dramatic play of
shadows and light upon its features are fascinating to observe, sketch, or photograph throughout a
lunation.
We are fortunate to live in a period when reasonably priced telescopes and binoculars of good
optical quality are available to almost everyone. Each can open lunar vistas of remarkable detail and
drama. We can explore the Moon visually while recording the memories in the form of our sketches.
Sketching the Moon’s complex features is an excellent way to become a better observer while exer-
cising our sketching skills. Sketching gives us time with our subject, inviting us to take a concentrated
look at its contours, highlights, and shading. As we observe the Moon, we are often surprised to see
features that are puzzling due to lighting or topography. A sketch can capture that scene, helping us
convey to others important details of what was noted.
A good lunar sketch is a graphical representation of a visual o bservation. The strongest emphasis
should be placed on “observation”, being that it is the basis of the activity. The level of concentration
required for creating a sketch works to sharpen our observing skills; no activity does this more effi-
ciently. Experience with our chosen media develops our technical abilities to represent those observa-
tions. Sharing our sketches demonstrates our various personal styles and teaches us how others
handle the subject and media.
Observation experience and media mastery can yield excellent sketches, some of them quite wor-
thy of being called art. However, it is very important to emphasize that we need only create as faithful
a rendering as our seeing, equipment, and abilities allow. Creating a work of art is not the aim of lunar
sketching, regardless of the fact that there are many who do that routinely! Lunar sketches can be as
simple or as intricate as we each decide to make them. The only limits are imposed by time and reso-
lution and, ultimately, our skill developed through practice and perseverance. When we put too much
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