Drawing Magazine

Drawing, Winter 2012

Brian Riley — Tue, 31 Jan 2012 20:09:00 GMT

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

Brian Riley — Wed, 26 Oct 2011 11:00:00 GMT

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

Erin Carey — Thu, 29 Sep 2011 18:36:00 GMT

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

Erin Carey — Fri, 23 Sep 2011 19:51:00 GMT

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

Erin Carey — Fri, 23 Sep 2011 17:55:00 GMT

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

Erin Carey — Thu, 08 Sep 2011 21:27:00 GMT

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

Brian Riley — Tue, 10 Aug 2010 19:20:00 GMT

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...(read more)

Drawing, Spring 2010

Brian Riley — Thu, 06 May 2010 11:00:00 GMT

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...(read more)

Drawing, Winter 2010

Brian Riley — Fri, 05 Feb 2010 18:45:00 GMT

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...(read more)

Drawing, Fall 2009

Brian Riley — Tue, 20 Oct 2009 17:00:00 GMT

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

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The Best of Drawing

Brian Riley — Fri, 02 Oct 2009 11:00:00 GMT

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

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Drawing, Summer 2009

Brian Riley — Fri, 07 Aug 2009 10:01:00 GMT

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

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Drawing, Spring 2009

Brian Riley — Wed, 06 May 2009 13:02:00 GMT

The Table of Contents for the Spring 2009 issue of Drawing magazine.

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Drawing Winter 2009

Brian Riley — Mon, 02 Feb 2009 05:44:00 GMT

On the Cover:
Study of Grace (unfinished, detail)
by David Jon Kassan, 2008–2009, charcoal and white chalk on toned paper, 14 x 11. Collection the artist. Image courtesy Gallery Henoch, New York, New York.

DEPARTMENTS

Editor's Note
Contributors
Sketchbook
New & Notable

Back on Earth:
The Sketchbooks of James Jean

Raphael and the Invention
of the Sublime

Learning From Leonardo’s
The Vitruvian Man

FEATURES

The Importance of Drawing in the Fiber Arts
by Karen Stanger Johnston
Fiber artists use a wide variety of methods and materials to create diverse works of art, but for four artists working today drawing is an important part of the creative process. Diane Simpson, Kate Harding, Pamela Wiley, and Dorothy Caldwell have different backgrounds and different approaches to making art, but for all of them drawing is an integral part of their work, whether as a preliminary step, as part of the final product, or both.

Drawing Fundamentals: The Cylinder
by Jon deMartin
Halfway between the basic geometric forms of the cube and the sphere lies the cylinder, a common shape in the human body. Understanding how to correctly depict a cylinder will greatly ease and enhance the rendering of most natural objects.

Learning From Leonardo’s The Vitruvian Man
by Anthony Panzera
Anthony Panzera, a painter, draftsman, and teacher at Hunter College, in New York City, wrote a book about Leonardo’s notebooks for which he drew original illustrations (inspired by the Renaissance master’s proportional theories) to accompany his thoughts and research. He agreed to let Drawing magazine excerpt part of his unpublished book.

Understanding Anatomy: Lips (Available Online)
by David Jon Kassan
Understanding the way in which the muscles of the mouth express the emotion of your subject is crucial in understanding how to capture that emotion on your paper. In this article I will touch upon the basic shape, form concepts, and muscular structure of the mouth and lips so that you can have these concepts and loose guidelines in mind when you go to draw from a live model.

Concepts Grounded in Concrete Sketches
by Bob Bahr
Multimedia artist Henry Dean makes conceptual art that owes its soul to drawings from his sketchbook.

Back on Earth: The Sketchbooks of James Jean
by John A. Parks
The dazzling productions of this successful artist are based on sure draftsmanship and acute observation.
To see an online exclusive gallery of work by this artist, click here.

More Than Likeness
by Kenneth J. Procter
Facial expressions such as smiles and furrowed eyebrows give character to the face, but pose, composition, color, and technique make the whole head expressive.

Raphael and the Invention of the Sublime
by John A. Parks
This Renaissance giant used drawings in a wide variety of media to build his compositions with enormous care and thought.

Drawing on the Dark Side
by Linda S. Price
New Jersey artist Roberto Osti believes that art should stimulate and take the viewer by surprise.

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