Drawing Magazine

Drawing, Winter 2013

2013-03-08T18:10:00Z

This issue features a special section on colored pencil—we consider the advantages of the medium and look at the work of several contemporary artists doing wonderful things with their materials. We also look at ways that artists can use drawings to prepare for work in other media.

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Drawing, Fall 2012

2013-01-01T16:37:00Z

One of the most daunting challenges artists face is instilling a sense of movement and action into a drawing or painting. Just as artists must conjure a three-dimensional image on a two-dimensional picture plane, they must also create the sense of time passing in a medium that ultimately does not move or change—unlike, say, music, dance, or film.

The artists featured in this issue all have managed to overcome this obstacle and imply a strong sense of motion, action, and life in their work, giving their viewers dynamic, exciting experiences.

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Drawing, Summer 2012

2012-08-08T15:19:00Z

Drawing includes many types of art, and to a great extent, what is considered to be drawing is a personal choice. In this issue, we look at artists working in nontraditional drawing styles and media, whose work can expand our perception of what drawing can be.

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Drawing, Spring 2012

2012-05-11T19:51:00Z

Master instructor Dan Thompson teaches you how to combine numerous measurement and proportional strategies during gesture and figure drawing to create rewarding, unified results.

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Drawing, Winter 2012

2012-01-31T20:09:00Z

In this issue, our Drawing Fundamentals series moves from looking at the historical roots of copying as an instructional practice to offering specific recommendations about how artists can copy master artwork in order to benefit the most from their efforts.

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Fall 2011

2011-10-26T11:00:00Z

This issue considers the gentle and peculiar graphite portraits of Jason Bard Yarmosky, who draws his grandparents wearing various costumes in order to reassess cultural assumptions about old age. It also includes another article that explains how artists can use the proportions of the figure to aid their drawing.

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Summer 2011

2011-09-29T18:36:00Z

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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Winter 2011

2011-09-23T19:51:00Z

Employ A Wide Range Of Media And Styles; Spanish Masters From Ribera To Goya; Mapping The Face Through Large Self-Portraits; How To Draw Active, Lifelike Figures; Advice For Drawing Leaves+ Plants In Perspective.

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Spring 2011

2011-09-23T17:55:00Z

Mastering the art of simplicity; large-scale graphite drawings; improve your drawings through anatomy; 15 cover contest  winners revealed; how to draw the outline of a figure.

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Fall 2010

2011-09-08T21:27:00Z

Using Edges to Improve Your Compositions; How to Draw Arms With Strength and Conviction; Drawing Fundamentals: The Figure in Action; Depict the colors of the Night; Dramatic Shadows for Subtle Effect.

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Drawing, Summer 2010

2010-08-10T19:20:00Z

On the Cover: Wet Hair (detail, reversed) by Jonathan J. Ahn, 2009, charcoal, 24 x 18. Collection the artist. FEATURES Choosing the Right Drawing Paper by Karen Meyer-Berthel The many differences between drawing papers can be so subtle that it is not always easy to fully appreciate the various advantages that certain brands and papers offer. We asked six artists and several paper manufacturers for information to help you get the most out of your drawing paper. Cover Competition Winners Choosing the...(read more)

Drawing, Spring 2010

2010-05-06T11:00:00Z

On the Cover: Idaline (detail) by Anthony Ryder, 2007, graphite and pastel on tinted paper, 14 x 10. Collection the artist. FEATURES The Ryder Studio School: Drawing on Light & Form by Allison Malafronte Artists who want to learn Anthony Ryder’s four-step approach to figure drawing can now spend months or even years learning from this gifted draftsman and instructor at his recently opened Ryder Studio School, in Santa Fe. The Core Figure: A Source of Power and Accuracy by Dan Gheno Much...(read more)

Drawing, Winter 2010

2010-02-05T18:45:00Z

On the Cover: Untitled (detail) by Mark Tennant, 2009, charcoal, 24 x 18. Collection the artist. DEPARTMENTS Editor's Note Contributors Sketchbook Where to Study Drawing: A Sponsored Guide to Some of the Best Educational Programs Learning From the Sketchbooks of a Modern-Day Leonardo FEATURES Add and Subtract Charcoal for Painterly Drawings by M. Stephen Doherty Pennsylvania artist Jen Hagen uses medium vine charcoal to build up and refine layers of tone in her drawings, and then she wipes away...(read more)

Drawing, Fall 2009

2009-10-20T17:00:00Z

Check out what's featured in the Fall 2009 issue of Drawing magazine.

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The Best of Drawing

2009-10-02T11:00:00Z

See what's featured in this special issue, The Best of Drawing.

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