Summer 2011

In this issue, Kenneth J. Procter discusses his work in the medium of powdered charcoal and looks at his own evolution as an artist. The issue also features a special section on portraiture, a subject with great expressive potential despite the restrictions portrait artists sometimes must work under.

The mere mention of portraiture evokes strong responses from artists of all backgrounds. For many, it brings to mind the work of the masters—portraits by Rembrandt, Velázquez, and John Singer Sargent, which rank among the finest paintings ever created. Other artists think about the challenges of working with sitters who are anxious to see how their completed commission will look. It also reminds us of the years of practice and dedication required to master the art of capturing a person’s likeness—one of the most ambitious goals an artist can achieve.

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CONTENTS

4 Editor’s Note

6 Contributors

8 Sketchbook

20 New & Notable

24 Collective Memory: Whitfield Lovell
BY JOHN A. PARKS
This innovative artist combines charcoal drawings with playing cards, found objects, and entire structures in order to reflect upon the lives of ordinary men and women of past generations.

36 Strategies for Drawing: Portraits and Figures
Two instructors share their recommendations for how to begin and refine a portrait or figure drawing, capture an individual likeness, and accurately measure proportions for optimum results.


42 The Essential Line: Master Drawings of the Academic Tradition
BY AUSTIN R. WILLIAMS
Portraits and multifigure compositions on display in a recent exhibition revealed the technical achievements and imaginative power of artists trained in the European academic tradition.

50 Drawing Fundamentals: Modeling Form
BY JON DEMARTIN
By paying careful attention to where light ends and shadow begins, an artist can use corresponding light and dark values to represent a form’s threedimensional appearance.

58 Reflections on Fragile Landscapes
BY KENNETH J. PROCTER
Through years of study and experimentation, my powdered charcoal drawings have evolved to take advantage of texture, scale, and the power of chance.

70 Drawing as Creation, Not Imitation
BY AUSTIN R. WILLIAMS
At Lyme Academy College of Fine Arts, students in the drawing program are taught not to imitate their subject as precisely as they can but rather to treat every drawing as an act of invention.

78 Different Drawings, Different Purposes
BY ANDREW CONKLIN
Not all drawings are created in the same way or for the same purpose. In this article, veteran artist and teacher Andrew Conklin describes the five types of drawings he creates and how his methods and materials change based on his desired results.

86 April Surgent: Forging Relationships in Reflections
BY NAOMI EKPERIGIN
This young artist creates engravings on glass that explore connections between people and their environments.

92 Romare Bearden: An Idea, a Drawing
BY MICHAEL GORMLEY
In a sense, drawing is an artist’s act of thinking, and as such it is not limited only to the materials and processes most commonly associated with it. Many exploratory artworks are forms of drawing, as the collage studies of Romare Bearden demonstrate.

96 Coming in...

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