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Read the transcript from our online chat with colored pencil artist Alyona Nickelsen. This chat was brought to you by Legion Paper . 2007-03-08 11:00:27.0 Administrator: You have joined a chat with Alyona Nickelsen, a colored pencil artist featured in the April issue of American Artist . Feel free to...
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As a supplement to our feature in the winter 2007 issue of Drawing magazine, we offer a more in depth look at Brian Bomeisler's drawing workshop with an extended version of the article, additional images of student work, and more photographs of the workshop. by Stephanie Kaplan Bomeisler helped a...
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Californian Kim Lordier has succeeded by pushing herself to create better and more original paintings with pastel and by stopping herself from rendering photographic details. “I had to gain enough confidence to make marks that expressed what I wanted to say about a subject, and then walk away from...
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Cast Study—Laocoon 2005, charcoal and white chalk, 26 x 19. Collection the artist. Students attending contemporary art schools modeled after 19th-century academies often spend their first months on the drawing basics and making sight-size copies of lithographs from Jean-Léon Gérôme...
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In past issues, we explained how to analyze and correctly draw different areas of the body. In this tutorial overview of the figure, we bring it all together. by Dan Gheno Weighted Stasis by Dan Gheno, 2006, colored pencil and white charcoal on toned paper, 24 x 18. You wouldn’t build a house without...
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Despite the differences in their styles, materials, and techniques, the teachers we surveyed offered similar recommendations—up to a point. by M. Stephen Doherty Funchal by Frank Webb, 2005, watercolor, 22 x 30, Collection the artist. Over the past 20 years, artists featured in Watercolor magazine...
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In the November 2006 issue of American Artist , still-life artist Benjamin Shamback explained how an energetic underpainting gave life to his carefully refined oil works on metallic surfaces. In this online exclusive gallery, we offer more still-life images as well as three charcoal drawings. Apricots...
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After a Trip to Italy, Fred Wessel learned more about egg tempera painting and adding gold leaf to his panels. He now teaches those procedures for emulating the dazzling beauty and inner glow of 14th- and 15th-century pictures. by M. Stephen Doherty The process that Massachusetts artist Fred Wessel uses...
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Florida Artist John Bowen increases his palette of colors and adds texture to his paintings by mixing zinc white gouache with his transparent watercolors. by M. Stephen Doherty Many watercolorists avoid using Chinese white or zinc white gouache with their transparent watercolors because they think they...
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Line has been around for a long time. Ever since the prehistoric era, when that first artist picked up a lump of wood ash from a spent campfire and outlined a hand on the cave wall, lines have described forms of all types--human, animal, and landscape. On its own, line is a very powerful force. A line...
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If you know the anatomy of arms, you can use them to express much. by Ephraim Rubenstein Study of Arms 2006, red chalk, 26 x 19. All artwork this article collection the artist unless otherwise indicated. This study shows the major masses of the arm in different positions and from different angles. Remember...
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Nine years ago, Mark Norseth moved his family to Hawaii and discovered the perfect place to record the power, movement, and coloration of the sea in pastel paintings. by Tamara Moan It’s easy to spot Mark Norseth around the town of Kailua, perhaps down by the boat landing on the beach or under...
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Christopher Hart explains how he drew this gloomy ballplayer. Step 1 Although the basic head shape is big and round, it still has angles. The cool look of the character depends on a well-crafted outline. Step 2 A small, upturned nose is almost always used for young kids. Step 3 Remember when drawing...
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As well as any artist before or since, John Singer Sargent learned the best lessons in value, light, and form and used them throughout his life—lessons clearly visible in his drawings. by Mark G. Mitchell Sleeping Child 1872–1873, graphite on off-white wove paper, 1111/18 x 811/18. Collection...
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We counted the number of times historical figures were referenced or reproduced in the first 10 issues of Drawing and showcased the the most mentioned here, with illuminating comments from two experts. by Bob Bahr It’s possible the greatest drawer the world has produced was a female apprentice...