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A short steel rod cut to a diamond point that is used as a tool in engraving.

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  • Discover the Enduring Appeal of Sketching
    Human figure drawing, especially life drawing from a model, is one of the most rewarding ways of practicing art because it can enhance your abilities in ways that are both practical and inspirational. It's practical in that creating figure drawings develops skills that will serve you again and again
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  • Step by Step to a Virtuosic Figure Drawing
    Seeing a painting or drawing progress from beginning to end allows the finished artwork to be understood as a series of discrete steps leading to a virtuosic whole. During a recent tour of the Grand Central Academy (GCA), in New York City, I observed instructor Joshua LaRock developing a drawing of Michelangelo's
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  • Dark Tidings
    Sounds mysterious and threatening, right? No worries! It's just that when Liz Haywood-Sullivan began to create pastel drawings, she was dismayed with the range of dark colors available. "Rich, dark pastels were hard to find," she says. "Most
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  • 350 Ways of Drawing Faces
    Can you imagine figuring out how to draw a face—the same face—350 times or more, and making each portrait drawing different and as compositionally sound and interesting as if you had made only one? Quite a task, yet Italian designer, sculptor
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  • 6 Tips on How to Draw Anything Accurately
    Drawing is a fundamental skill for artists, emphasis on "skill." That means there are basic drawing rules and approaches that work, including these six tips on how to draw anything accurately. Delmonico Building by Charles Sheeler, 1926, lithograph
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  • No Two Shadows Are Alike
    I am usually heartened when I hear disagreements about matters of art and technique. Maybe I'm just combative that way, but more likely, I think I take such debates as a sign that there are more artists coming to the table, that the field is growing
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  • The Perfect Blend of Literal and Abstract
    When I say "the perfect blend," I feel a little bit like I am describing a gourmet coffee flavor, but there really is a perfect blend that exists in pastel painting. For me, the crème de la crème of pastel drawings combines a certain
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  • It Is Never a Matter of Bad Ideas
    I don't think the failure or success of a drawing has to do with the drawing ideas that the artist starts with. He or she could choose pretty much anything and make a go of it, don't you think? It also doesn't depend on whether the artist
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  • It's Easy With Our New Free eBook: Learn How to Draw
    Sometimes I can forget how good it feels just practicing drawing techniques. Simple things, like working on proportion and scale and line weight can feel so rewarding if you give yourself the time to really savor them when learning to draw. Mostly this
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  • They Can Be Moody, Too
    I'll admit that in the past I have been guilty of thinking of colored pencil art as colorful and bright and not necessarily able to be coupled with serious subjects or moody narratives. But that was my own bias. As I've spent time looking at sketchbooks
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  • It Was a Secret Love Affair...And the "Resolve to Save" Sale Continues!
    I love stumbling upon facts about artists that make me rediscover them and consider their process in a whole new light. That's the kind of moment I had when I discovered that Roy Lichtenstein, the king of Benday dots and comic-book narratives, loved
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  • Power to the Pencil
    With so much interest in plein air painting these days, it's easy to overlook how important drawing skills can be to the landscape painting artist. Fundamentally, drawing is both a way of seeing and a way of knowing a subject. If you can draw it,
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  • Add Water and BAM!
    I recently had an Emeril Lagasse moment--and it happened when I mixed pastels with water for the first time. Three Sunflowers on Blue by Jimmy Wright, pastel painting, 30 x 41. A while back, I confided that I wanted to start an earnest study and exploration
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  • 4 Tips for Drawing People
    I was recently on the train with a friend who caught the attention of an artist sitting across from us. She started drawing my pal. We were thrilled! It was an exciting moment as we watched my friend's face appear on the paper in front of us. As the
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  • And Don't You Ever Forget It
    I'm an artistic omnivore to be sure, but there is really nothing I love more and respond to more than pencil drawings. I know, the humble pencil and paper seems so simple, so basic. But what some forego and forget as too elementary, I see as essential
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  • Don't Start Off the Wrong Way
    For a drawing to be successful, you've got to start off choosing the right drawing surface. No matter how great the drawing ideas you have or the drawing art skills you bring to bear in the process, if you aren't pairing surface and implement
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  • Avoid These 5 Mistakes When Drawing Faces
    I've always been an ardent fan of the profile portrait drawing . It reminds me of antique cameos, the profiles of emperors stamped on Roman coins, and 18 th -century silhouettes. But learning how to draw a face in profile does come with its share
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  • You Won’t Get Anywhere With Half Measures
    I've been told by more than one person that I try to see both sides of any issue. And my personal life aside, I can attest that I also do the same for art--I like to see it from all sides, materially speaking. That makes me a perfect match for mixed
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  • Santa, Here’s My Art Wish List
    My dad is a little manic about asking our family to get our holiday wish lists to him waaaaaaay before he has to fight the crowds and wait in long lines. As usual, I'm procrastinating, but if I were to give him my art wish list, I could have it ready
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  • Her Face Is Round--But in a Good Way!
    Figuring out how to draw people is often a matter of breaking the body down into geometric shapes. When it comes to drawing people--specifically faces--you have to think of the sphere and the ovoid. Now, I'm not really a fan of looking at drawings
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  • Sketch I Will!!!!!!!
    I find that being an artist or art student is a bit like being a parent. The phrase: "Do what I say, not what I do" is too often applicable. For example, as I have expressed before, my goal is sketching something every day. The sketch drawings
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  • Do You Realize What Will Happen To You?
    It's strange how sketching and drawing are such old and established practices—pen and ink drawing has been around since ancient Egyptian times!—and yet no two draftsmen are ever really the same, and each one's pursuit can lead to very
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  • Rembrandt Says Don’t Take It Slow
    Straight from the master's mouth, er, hand. Study Rembrandt's drawing techniques and you'll find short strokes and quick crosshatching that the artist used to get to the heart of every visual impression he wanted to depict. The Three Trees
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  • Hunting the White Whale
    Art makes stories come alive. To me, it is as simple as that. And sometimes without art, there is no story-—or, at least, it's not quite as good. This was the case for the great American novel Moby-Dick . It is hard to imagine that Melville's
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  • TGIF! Our Free eBook on Learning How to Draw People Is Here!
    It's probably half-endearing (hopefully?) and half-annoying that I think there's no better way to start off the weekend than with art. But you know what I mean! As the fall season gets into full swing, I think we are all coming back around to
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  • It's Like Snooping in a Diary
    I've always thought of a painter's drawings or pencil sketches as his or her diary. A finished painting is the confident, public face shown to the world, but sketch drawings read like journal entries, where you can see an artist's preoccupations
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  • It’s Like a Snapshot Only Waaaaay Better
    There's something immediately nostalgic about Charles Kanwischer's graphite drawings. When I first saw them I immediately felt like I was looking at an old black and white snapshot. But in a way, his simple drawings are far better than snapshots
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  • It's Obvious She's Totally Twisted
    When I first saw the work of drawing artist Joan Wadleigh Curran I felt trapped...in a very good way. Curran takes as her subject matter from objects and places that most people would steer away from—dirty trash bags snagged on a chain link fence;
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  • Drawing and Painting Together
    This is another complicated charcoal drawing, one done by an artist completing her first level of study at Studio Incamminati. I have shown it in three stages, ranging from the beginning of the drawing process to the end. The light is from the front right
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  • Bringing the Dark to Light
    There are subject matters that are fairly easy to take in and those that need more time to understand and a willingness on the part of the viewer to move out of his or her comfort zone. Works that artistically represent intense events--like violence or
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  • Tiger in a Tropical Storm
    Henri Rousseau is best known for his exotic jungle scenes, but did you know that he never left France during his lifetime? All the imagery he painted was invented entirely in his mind and perhaps coupled with inspiration he got from listening to others
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  • The Long, Hot Summer
    The light of summer is a powerful and extreme thing. Getting effects of extreme darks and stark, searing lights is not something every painter can do. There's an acuteness of vision that must come into play to see the color that resides in the light
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  • You Could Use Some Color: New Free eBook on Colored Pencil Techniques
    I don't care what anyone says, color is king. It makes everything better--more appealing and lively. Oftentimes in an artist's drawing practice, a sense of color takes a backseat to the black, white, and gray of charcoal or graphite. But that
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  • Confessing All of Your Shady Ways
    One of my unhappiest memories of making art is drawing a really 70s-looking still life that my art teacher set up for us in the sixth grade. I remember being soooo bored and not interested at all in what we were doing until my teacher gave us a challenge
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  • Why Do I Draw?
    Today was a day spent asking myself questions about my art. Two of the questions I have focused on are: "Why do I draw?", and "Why do I draw what I draw?" The copy of a Prud'hon drawing that I did in Natalie Italiano's drawing
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  • Taking Off the Straightjacket
    I am not a finicky person, so getting my hands dirty to get a job done is totally fine with me. But with painting, I can get so uptight and hesitant that the physical joy of it all goes right out the window. I'm trying to be better about what I'm
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  • The Lasting Influence of Illustration
    I love that my job allows me to learn something new every day—and the fact that the majority of those discoveries are art-related make them all the more inspiring. Lately I've been in art-historian mode, and I've have been trying to better
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  • Lust for Line
    There are a few artists that I would like to watch step-by-step, drawing in their sketchbooks or painting in their studios. Okay, more than a few, but after seeing Van Gogh's drawings, he would definitely be at the top of my list. Cottage Garden by
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  • Drawing, Winter 2012
    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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  • Drawing Magazine Going Where It's Never Gone Before!
    Love to draw? Love to surf the internet? Then check out Drawing magazine's new Facebook page —featuring artists, tips on drawing basics, unique educational opportunities, and exclusive news about the magazine and the fast-paced world of drawing
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  • Make Your Mark, But Make It Different
    Recently, artist and our contributing blogger Daniel Maidman wrote a really insightful article about varying your mark making that I want to share because it seems like so many of us are refocusing our interest to drawing, and this is a great approach
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  • Do You Know All Your Lines?
    Two Women with Still Life by Willem de Kooning, pastel and charcoal on paper, 22 1/4 x 18 3/4 in., 1952. The artifice of line is one of the aspects of drawing that I am most in love with. The fact that we can take line—which doesn't exist in
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  • Skies Don’t Have Brushstrokes In Them
    Watercolor artist Thomas Schaller achieves convincing and dynamic effects in his skies ( Salisbury Cathedral , watercolor painting). I know it is a bias, but sometimes I can't help thinking that painting skies belongs to a particular realm of watercolor
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  • Drawing Basics: Working in Black and White
    A photo of the cast I am drawing. My drawing, in progress. You may remember that in the fall of this year, I discussed Darren Kingsley's class and his comment that we would be working for many weeks on our drawing of a facial feature in his class
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  • Drawing Basics: Grateful for Shades of Grey
    Figure drawing by Judith St. Ledger-Roty, charcoal drawing, 2011. I have been taking a figure drawing class that focuses on doing a comparatively long figure pose, working in charcoal. (We do one minute, five minute, and ten minute drawings, too, so 'long'
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  • How to Put On the Brakes
    Matthew Carr refused to use pure white in his drawings, treating his surface with charcoal before he began. ( Gordon , 2006, conté pencil on prepared charcoal paper, 56 1/2 x 44.) As you all might remember, charcoal drawing and I haven't always
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  • Drawing the Strength of Bones and Folds of Flesh
    Pastel drawing by Lea Colie Wight. At Studio Incamminati, it is not unusual for instructors or fellows who are not teaching a particular class to come in to draw or paint beside the students. This happened recently when Lea Colie Wight joined in a figure
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  • My Handmade Holiday
    This is a monotype print I just made of a winter scene. I went over it with pastel to get the motion of the swirling, whirling snow. It'll make a great card for some lucky friend this season! I've long been fascinated with holiday greeting cards
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  • Give a Dreamy Sigh for My Painting Hero
    Taking just a few minutes to survey a scene and sketch it can help work out any challenges you might come across with the orientation of objects, color, and more. Okay, it isn't a he or a she, but an 'it': composition! I know, not the handsome
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  • Colored Pencils and Exploding Heads: Welcome to the Fall Issue of Drawing
    Kinder Love by Jason Bard Yarmosky, 2011, pencil drawing, 18 x 24. Frontal Study of Naked Man by Leonardo, 1503- 09, pen and ink drawing, 9 1/4 x 5 3/4. Looking East by Kerry Brooks, colored pencil drawing. I'm excited to report that the fall issue
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  • Can a Caricature Help My Portrait Painting? Plus Our Self-Portrait Contest!
    The Grimaces by Louis-Leopold Boilly, 1823, lithograph, 13 1/8 x 10. A few weeks ago I was in the Met and saw "Infinite Jest," an exhibition of drawings and prints that explore satire and caricature from the Italian Renaissance to the present
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  • Drawing Basics: Varying Your Mark Making
    Last time we discussed the idea of switching up art practice techniques . The concept was that, while repetition builds skills, change keeps the mind sharp and the work lively. I've been thinking about ways I personally switch up techniques. The first
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  • A Stress-Free Drawing Master Class
    This is a blog about drawing people from one of my favorite co-workers, Cate, the online editor of Cloth Paper Scissors . Enjoy! Proportion is key to life drawing. When I was a kid growing up in Michigan, I was privileged to take classes at Cranbrook
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  • Three Works of Art I Would Kill to Have
    It's not as if the wall space in my apartment is getting any bigger, but still, I'm always looking at works of art and murmuring, "I know just the place for you..." And for the past several years I've been particularly drawn to works
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  • From Me to You: Free Drawing eBook on Pencil Shading Techniques
    Drawing after the sculpture The Cylinder Man by Eliot Goldfinger by Jon deMartin, 2009, pencil drawing. Drawing for Epiphany by Michael Aviano, 2009, charcoal drawing, 39 x 32. Going from "the cylinder man" to a fully-realized figure is a matter
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  • Portrait & Figure Painting Highlights
    Reflect Your True Vision with Accurate Form Now you can paint the human form with the depth and detail it deserves - your artwork will come alive with this exciting special issue from American Artist: Portrait and Figure Painting Highlights Fall 2010. Improve the detail of your portraits with 100 pages
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  • Heading Back to School for More Drawing Basics & Beyond
    My early charcoal drawing. The charcoal drawing using the Studio's method. Once again, time for me to go back to school at Studio Incamminati . In preparing for classes, I have been reviewing my last year's drawings again. I am reminded of something
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  • How do I think? I sketch!
    Looking at Leonardo da Vinci's sketch of birds I imagine how the artist likely thought about more than just the birds themselves. He would have been caught up in ideas of flight and soaring in air. That's the power of a sketch. It can transport
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  • You Want a Free eBook on Making Color Work When Pastel Painting, Right?
    Manhattan Nocturne by Frank Federico, pastel painting, 20 x 24. I have a tried and true love affair going with color. I'm drawn to it across the spectrum, but I'm a late bloomer when it comes to pastel painting, which has to be some kind of crime
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  • Don’t Finish That Drawing—It’s Perfect Right Now
    Frank by Eileen Healy, pastel drawing. Artist Daily Member Spotlight: Eileen Healy I don't think any of you know how often I brag about you and the great work you show off in the Artist Daily Member Gallery. Recently I had several colleagues looking
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  • Drawing Basics: Using the Egg to Draw Anatomy
    Marjorie Forgues' figure drawing, day 1. Marjorie Forgues' figure drawing, day 2. Taking a painting or drawing class is always a learning experience, but often I find I learn a great deal from other artists in the class as well. This is especially
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  • 3 Paintings I'd Take in a Heartbeat
    Unknown Woman by Thomas Wilmer Dewing, 1890, pastel painting on paper. I love the effects and colors you can get with pastel paintings . . . at least I do now. It wasn't too long ago that I felt like I had some kind of weird complex where I could
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  • Life Drawing Gymnastics
    I combined not just artist and model (self-portraiture), but artist-model-athlete in my Life Drawing Gymnastics series. In my Life Drawing Gymnastics series, I attempted to do more than simply draw from life , but rather allowed life to be a large part
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  • Drawing Basics: How I Judge My Artistic Progress & Learning from Robert Liberace
    This is a long pose drawing that made it into my "evaluate" pile. Part of the artistic learning process for me is learning how to evaluate my work, not on a piece by piece basis, but collectively. This summer I am looking at my drawing art works
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  • Drawing Basics: Meet Your Master and Then Throw Him Away
    For this brush and ink drawing, I applied what I learned from da Vinci, but moved in my own direction. Sad is the disciple who does not advance his master. --Leonardo da Vinci Maybe you remember--in my earlier post when I recommended that you choose a
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  • Drawing Basics: Making Art According to Leonardo da Vinci's Motto
    Left: Kem , detail, 2004, 48 x 24, oil on canvas. Right: Hands #1 , 2011, 24 x 24, oil on canvas. I am not claiming either painting is better, but without my figure drawing practice between 2004 and 2011 I couldn't have painted the newer painting
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  • Drawing Basics: Costumes, Clothes or Nothing At All
    Julie Seated with Hands Clasped by Steven Assael, 2007, drawing, 22 x 15.5. We all know that drawing the nude figure is a, if not the, classical way of depicting the human body. But breaking the mold and adding clothing to your figure drawing art can
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  • Drawing Basics: Think Egg!
    Ethel Smyth by John Singer Sargent, chalk drawing, 1901. Adapted from an article by Dan Gheno Facial features can be used and contorted to tell us all kinds of things in a drawing . But you don't always have to think up dramatic scenarios for a drawing
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  • Drawing Basics: The Best Drawing Art Books
    Plate VIII, Study for a Picture , chalk and pastel drawing. From The Practice and Science of Drawing by Harold Speed. I was just telling a friend of mine that artists love books. That surprises some people, but it is totally true, especially if you love
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  • Drawing Basics: Measuring and Proportion in Life Figure Drawing
    Woman on a Treadmill by Kate Sikorski, figure drawing, 2009. I am a firm believer in starting a life drawing with the envelope—the shape you first draw before anything else. I've come to think of it as one of my drawing basics. This envelope
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  • Drawing Basics: Get In That Box!
    Head of 12-year-old Christ by Albrecht Dürer, drawing, 1506. Adapted from an article by Dan Gheno. As you know from my previous blog about needing a GPS to draw heads --because I get more lost in the eyes, ears, mouth, and nose than you'd think
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  • Drawing Basics: Look at John Singer Sargent's Swirls and Squiggles
    Sketch of a Man by John Singer Sargent, charcoal drawing. Adapted from an article by Mark G. Mitchell. Looking at a John Singer Sargent's drawings, I really can't mistake them for anything but the work of his hand. His line work is so thin, firm
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  • I Need a GPS for Drawing Faces
    Drawing a face is a little like reading a map. And no, not the cool Indiana Jones map where the red line draws itself to the destination and ‘X’ marks the spot. I wish! It is more that when learning how to draw people , there are a few “signposts” on the face and rules of thumb
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  • Drawing Basics: Mixed Bag of Anatomy Inspiration
    Peter Kelsey's cast drawing of the male torso. Hey fellow artists! Drawing anatomy seems overwhelming to me sometimes, but if I focus on strategies for HOW to learn it, it starts to seem doable. Here are a few tips I learned from a recent article
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  • Drawing Basics: How to Make Sense of All Those Bumps and Ridges
    As I was struggling to pull my drawings together, I realized that it didn't matter how good my line got, because I couldn't tell what I was looking at. The topic was the human body, and more specifically, the back. If you've gone through life drawing, perhaps you know the problem. You're
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  • Drawing Basics: How I Start My Pencil Drawings
    From the time I started drawing, I have had a constant battle with myself over how to start. For years I have been looking for the one right way to sketch in a composition or block-in an underpainting. Lately, and with the help of my Studio Incamminati instructors, I have learned that there are several
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  • Drawing Basics: Learning the Lesson of Line Drawing
    Leonardo Da Vinci's drawing, Head of an Angel , 1483. In my last post, I was telling you about how I decided to take Leonardo Da Vinci for my master when I was first studying art seriously. Choosing a master means taking a close look at great art
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  • Drawing Basics: Breaking Down the Head
    When trying to draw the head correctly on the body, pay specific attention to the neck and the placement of the head upon it, above the ribcage. Double check the alignment of the center line of the face, as compared to the sternum ( centerline of ribcage) and linea alba (centerline of abdomen).
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  • There's Nothing Quite Like Custom Made
    I’ve always dreamed of having something, anything—shoes, a coat, a car!—custom made. While all of those are pretty much still out of my reach, I know that I can custom design how I get my art training. There are a lot of options out there for us art-minded folk, but I spoke to Rob Zeller
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  • Drawing Basics: To Tone or Not to Tone
    I have found that toning my support, whether canvas or paper or board, is something I often do now. I’m showing two works to illustrate the difference between toning and not toning.
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  • Forget Everything You Know About Line
    There’s one thing and one thing alone that makes for a successful tonal drawing : seeing masses rather than outlines. Lines are for flow charts, architectural blueprints, and driving on the right side of the road. To a certain extent I am kidding—there are some incredible draftsmen who work
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  • An Artist's Logic: Perspective Drawing Basics
    L.S. Lowry's The Fever Van uses one- and two-point perspective. Knowing the basic methods of linear perspective drawing is key to creating the illusion of distance and space in your artwork. And thankfully, it’s all based on one simple idea—that
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  • Drawing Basics: On Midtone Paper by New Blogger Daniel Maidman
    My pencil drawing, Alley , was the result of a 40-minute pose that I did a few weeks ago. Hello, all, and thanks for having me as part of the Artist Daily community. I’m an artist working in New York, and I’ll be offering thoughts on the art
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  • Become a Master Draftsman With Our Free Drawing Basics eBook
    Studies of Heads and Hands by Hans Holbein the Younger, pen-and-ink. We all know that a strong foundation in drawing can make a significant difference in all levels of art making. “When in doubt, go back to your drawing” is the advice I’ve
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  • Portait & Figure Painting Highlights
    Reflect Your True Vision with Accurate Form Now you can paint the human form with the depth and detail it deserves – your artwork will come alive with this exciting special issue from American Artist: Portrait and Figure Painting Highlights Fall 2010. Improve the detail of your portraits with 100
    Read More >>
  • Our Latest Free Drawing eBook Is Yours
    When asked why painting the human figure was so important painter Scott Burdick was matter-of-fact. “Because we are human,” he said. “If an alien species were to come down today, they wouldn’t respond to the human form or face like we do. Just like pictures of lobsters don’t
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  • Taking Advantage of Free Instruction
    I recently joined a gym in my neighborhood, with the hopes of working off some of those extra holiday pounds that seem to wear out their welcome around this time every year. My schedule is pretty busy, so I try to streamline my visits, making a beeline
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  • Drawing, Winter 2010
    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
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  • 15 Beginner Drawing Tips on Learning How To Draw People the Classical Way
    Ramona by Tony Ryder, 1995, graphite, 24 x 18. Private collection. My father has been in the construction industry for nearly 40 years. When I was younger, one of my favorite things to do was visit him on the job site before a building was finished and
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  • Taking a Creative Gamble
    I recently met an artist who said, completely nonchalantly, “I never sketch, I never throw out a painting, and I’m always pleased with my final work.” If only we could all be so lucky! Sometimes when I’m writing a drawing basics
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  • The Importance of Getting Youth Involved in Art
    Last week I had the opportunity to get together with a handful of art-materials retailers from around the United States and Canada to discuss concerns about reaching the art-making world and to share what artists are purchasing and what materials they
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  • Drawing Fundamentals: Modeling Planes
    Objects look convincing when a draftsman models the form correctly. Here, we take it step by step to ensure accuracy and a solid foundation.
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  • Drawing Basics: Drawing Is Memorization?
    When I first moved to New York City about a dozen years ago, I drew my father's face from memory quite a lot. It usually wasn't a good depiction at all, but occasionally it resulted in a decent drawing of a handsome man — which reminds me
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  • Drawing Basics: Drawing People Using Perspective Lines
    While thumbing through Burne Hogarth's Dynamic Anatomy the other day, I came across an interesting section on foreshortening that I wanted to share ...
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  • Drawing Basics: Does Mr. Ed Have an Advantage Over You?
    It's crazy to say that horses have a visual advantage over humans, but with eyes on opposite sides of their heads, they surely don't see in three-dimensional terms like we do. There are times especially for beginners when seeing less--seeing a
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  • Drawing Basics: The One Rule We Hear More Than Any Other From Art Teachers
    Very few rules are absolute in art. But one rule keeps popping up in our magazines, quoted by art instructors and artists of all types...
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  • Drawing Basics: Densely Marked Drawings
    Last week we talked about sparsely marked drawings, so it only makes sense that today we consider drawings in which nearly every area is marked.
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  • Drawing Basics: In Praise of Sparseness When Drawing
    I caught the Whistler exhibition at The Frick last week and was initially concerned about its size — it hangs in that smallish room in between the place where you pay admission and the hallway to the restrooms — but I suppose at some point
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  • Drawing Basics: Drawing People in Ink Frees You
    Drawing in ink can force an artist to either slow down and make very careful marks, or do the opposite--to ignore the permanence of the marks and make them freely. What does pen-and-ink do for you? Let us know by posting a comment.
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  • Drawing Basics: Draw It 2 Times
    As Steve Doherty pointed out in a recent blog post, it's quite helpful to depict the same scene twice. I find this is very true in drawing, for several reasons ...
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  • Drawing Basics: Draw Why You Love Your Home
    Drawing Day 2009 was such a popular event on the American Artist website that we decided to have regular, themed drawing days for our readers. The first one is scheduled for July 4. Draw something that represents why you love your house, your land, your state, your country, your world. Draw something
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  • Drawing Basics: Drawing on the iPhone
    Digital art isn't new. But when a friend told me that people are now creating art on their iPhones, I imagined that the art wouldn't be anything remarkable. Then David Kassan emailed me an example that he said he sketched very quickly from previous studies.
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  • Drawing Basics: Drawing Day Results
    I can't speak for anyone else, but I sure enjoyed Drawing Day 2009 ! I went to Central Park with a friend, loaded down with drawing pencils, drawing sketchbooks, painting supplies, and Gatorade. Several scenes screamed out to be captured in a quick
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  • Drawing Basics: The Drawing Day Project Wants People to "Drop Everything and Draw"
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    It's always a good time to visit The Frick, especially this summer, when people in New York will get a chance to see the exhibition "Portraits, Pastels, Prints: Whistler in The Frick Collection," a gathering of the museum's Whistlers, spanning three media.
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    We surf the web for interesting new drawings and random information on art so you don't have to. April 28 edition.
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    What facial feature do you find to be the best indicator of a sitter's likeness?
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    We surf the web for interesting new drawings and random information on art so you don't have to. March 24 edition:
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    In this passage, which we had to cut from the print article in our Spring 2009 issue of Drawing for space reasons, artist-instructor Dan Gheno explains how visualizing the arc that body parts move through will help you place the joints in the right location, ensuring proper proportions.
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    Q: What, if any, is the difference between an outline drawing and a contour drawing? A: While an outline drawing merely points out the division between form and the space it occupies, a contour drawing is a means of describing form and its relationship
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  • Airbrush
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  • Drawing basics
    Q : I've been mostly a casual drawer, so I’ve stuck mainly to drawing the human figure. Now that I'm looking into pursuing a career in art, I need to improve my skills in sketching backgrounds. Is there a good online tutorial or a book that
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  • Drawing Basics: Use Bread as an Eraser?
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  • Drawing Basics: Is Pastel a Drawing Medium?
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  • Drawing Basics: How Are YOU Using Negative Space?
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  • Drawing Basics: Depicting Mother and Child
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  • Drawing Basics: The Best Sketchbook?
    Above, a selection of sketchbooks from Kunst & Papier, Palo Alto, California. About two weeks ago I opened up a discussion regarding the best pencil for drawing. Now I'm interested in the best sketchbook. Although I had an opinion about the best
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  • Drawing Basics: Finding Time to Draw
    A friend recently asked how to get into a routine of drawing, and I shared with her my methods of finding the time in a busy schedule to keep progressing in my pursuit of better draftsmanship. I draw from a live model one night a week; when my schedule
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  • Drawing Basics: The Best Pencil?
    Bob Bahr talks about his favorite pencil and asks readers for their opinions.
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  • Drawing Basics: Two New Books Look Interesting
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  • Drawing Basics: Graphite and Charcoal in the Form of Oil Paint?
    Occhuzzie Paint Company, a small manufacturer based in Charlotte, North Carolina, unveiled two new pigments at the Savannah College of Art & Design's Art Materials Show, held at the beginning of October. One featured ground graphite suspended
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  • Beyond Drawing Basics: Leonardo Drawings from Biblioteca Reale in Turin
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  • Drawing Basics: The Cube
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  • Drawing Basics: A New Series of Articles by Jon deMartin
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  • Drawing Basics: Welcome, and What's New From the SCAD Show
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  • Drawing Basics: Judith Carducci's Workshop and the Benefits of Drawing and Working From Life
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  • Kurt Long Wins Drawing BODIES Competition
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  • Drawing Basics: Looking at Antonio Lopez Garcia's "Portrait of Maria"
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  • Drawing Basics: Exploring Humor in Drawing
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  • Drawing Basics: Tiepolo Drawings at the Metropolitan Museum of Art
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  • Drawing Basics: Leonardo da Vinci’s "Head of the Virgin in Three-Quarter View Facing to the Right"
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  • Drawing Basics: Kent Bellows' Figures With Backgrounds
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  • Drawing Basics: David Jon Kassan on "Cellini Revisted" by Sam Ivie
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  • Drawing Basics: Female Nude Figure Drawing
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  • Drawing Basics: William-Adolphe Bouguereau, "A Girl in Peasant Costume"
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  • Drawing Basics: David Jon Kassan on "My Mother" by Katherine Sammons
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  • Drawing Basics: Kitty Teerling pencil portraits
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  • Drawing Basics: Peter Paul Rubens' "Hercules and Minerva Fighting Mars"
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  • Drawing Basics: David Jon Kassan on "Demonstrator" by Burton Silverman
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  • Oil Painting: Ron Hicks' "Noelle With a Black Dress"
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  • Drawing Basics: Michelangelo's "The Risen Christ" and "The Resurrection of Christ"
    Ephraim Rubenstein discusses Michelangelo's The Risen Christ and The Resurrection of Christ. by Ephraim Rubenstein The Risen Christ by Michelangelo, ca. 1513, black chalk drawing, 16 x 10. Collection the British Museum, London, England. The Resurrection
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  • Beyond Drawing Basics: Drawing Storyboards for the Coen Brothers Movies
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  • Drawing Basics: Understanding Anatomy by Drawing the Foot
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  • Drawing Basics: Arlene Steinberg on Colored Pencil
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  • Drawing Basics: Dee Overly's Colored Pencil and Graphite Drawings
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  • Beginner Drawing Logic: Getting Depth Into Your Drawings
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  • Drawing Basics: David Jon Kassan on "Self-Portrait" by Kathe Kollwitz
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  • Drawing Basics: David Jon Kassan on "Male Nude" by Michelangelo
    David Jon Kassan comments on Michelangelo's Male Nude . Male Nude by Michelangelo Buonarroti, ca.1504, black chalk drawing heightened with lead white, 16 x 9. Collection Teylers Museum, Haarlem, the Netherlands. Looking at Drawings: "Male Nude
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  • Drawing Basics: David Jon Kassan on "Manuelita" by Nicolai Fechin
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  • "Watercolor" Magazine 2007 Cover Competition Finalists
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  • "Drawing" Magazine 2006 Cover Competition
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  • Drawing Basics: Values Create Dramatic Drawings
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  • Drawing Basics: Arlene Steinberg on How Colored Pencil Techniques Relate to Painting
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  • Drawing Basics: David Jon Kassan on "Connie XXI" by Costa Vavagiakis
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  • Drawing Basics: David Jon Kassan on "Study of the Head of an Old Man" by Jean-Baptiste Greuze
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  • Watercolor: Shanna Kunz: Tonalism and Contemporary Design in Watercolor
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  • Drawing Basics: Student and Faculty Work from PAFA
    In the spring 2008 issue of Drawing magazine, we explored how the Pennsylvania Academy of the Fine Arts puts students on the path to become artists, teaching them drawing basics and then taking them beyond. In this online exclusive gallery, we offer more
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  • Drawing Basics: Janvier Rollande's Portraits of Self-Expression
    In the spring 2008 issue of Drawing magazine, we discussed how Maine artist Janvier Rollande found that a bit of herself always came through in her pencil drawings of others. We offer more of her graphite portraits in this online exclusive gallery. Tapestry
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  • Drawing Basics: A History of the Pennsylvania Academy of the Fine Arts
    In this online exclusive, read more about the history of the Pennsylvania Academy of the Fine Arts as a supplement to the spring 2008 Drawing magazine feature article. by Tina Tammaro In 1791 artist Charles Willson Peale began to gather a group of prominent
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  • Drawing Basics: Colored Pencil Drawings of Natural Objects
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  • Drawing Basics: Looking at "A Stag at Sharkey's" by George Bellows
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  • Oil Painting: Peter Fiore: Freely Interpreting Nature
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  • Drawing Basics: The Neck
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  • Drawing Basics: Arlene Steinberg's Colored Pencil Drawings
    In the May 2008 issue of American Artist, we explored how Arlene Steinberg developed her detailed colored pencil drawings in much the same way as an oil painter would proceed. We present more of her drawings in this online exclusive gallery. All Paired
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  • Drawing Basics: "Male Back" by John Singer Sargent
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  • Drawing Basics: Ports of Entry & Richard Morris Hunt's Architectural Drawings
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  • Drawing Basics: Edges
    An artist's handling of edges is one of the drawing basics and of great importance if a drawing is to be convincing. Tartar Huntsman by Peter Paul Rubens, ca. 1616, black chalk heightened with white, 15 1/16 x 10 9/16. Collection The Fizwilliam Museum
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  • Drawing Basics: Philip Pearlstein's Prints and Army Drawings
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  • Drawing Basics: Looking at "Study for Mirror (I Against I)" by Dan Thompson
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  • Beyond Drawing Basics: Philip Pearlstein's Unrelenting Gaze
    This New York artist discovers many of his breakthroughs through drawings, depicting strictly what he sees with little thought for accepted standards of draftsmanship. by John A. Parks Study for Eroded Cliff 1955, sepia wash on paper, 18¾ x 23
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  • Drawing Basics: Henry Casselli Draws from the Inside Out
    Throughout his long career, Henry Casselli has looked to drawings to clarify his impressions and better understand his subject. To read more features like this, subscribe to Drawing today! by Lynne Moss Perricelli Study for Sparring Partner 2005, graphite
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  • Drawing Basics: Anthony Mitri and Mary Reilly's Other Locales in Black and White
    In the winter 2008 issue of Drawing magazine, we discussed how Anthony Mitri and Mary Reilly, who work in charcoal and graphite respectively, mastered the drawing essentials to develop a personal vision and unique style through their drawings of New York
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  • Technique: Sherry Camhy: When Black Is White
    This New York artist uses the sheen of graphite to create the light highlights in her drawings on black paper. by Bob Bahr Study of a Roman Sculpture 2007, graphite on black paper, 50 x 33. Collection the artist. Twilight by Sherry Camhy, 2006, graphite
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  • Drawing Basics: Caran d'Ache's Pencil-Making Process
    The pencil manufacturer Caran d’Ache agreed to share their pencil-making process with Drawing readers through the following photographs, so that artists are informed about their materials and can use them when solidifying their mastery of all drawing
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  • Drawing Basics: David Jon Kassan's Favorite Drawing & Why
    For this new feature, we've asked artists to comment on some of their favorite drawings. In this first edition, David Jon Kassan comments on Head Study of a Young Girl by John H. VanderPoel. Head Study of a Young Girl by John H. VanderPoel, 1903,
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  • Oil Painting: Daniel Graves: Steward of Humanist Art
    Many of the great teachers who trained Daniel Graves were featured in American Artist in the 1970s, while he and his students have been profiled in more recent issues. As the magazine celebrates its 70th anniversary, we examine the academic art education
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  • Hudson River School for Landscape: Reviving an American Tradition
    This past summer, 30 outstanding young artists were invited to spend three weeks studying the landscape in upstate New York, where they applied their figure-drawing skills to rendering nature. The intention of the four instructors was to revive the approach
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  • Drawing Basics: Julia Randall's Colored Pencil Mouths
    In the winter 2008 issue of Drawing magazine, we discussed how New York City artist Julia Randall's colored pencil drawings incorporated depictions of her mouth. We present more of her voyeuristic, suggestive, slightly grotesque, and humorous drawings
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  • Drawing Basics: Ingres' Miraculous Lines
    This French master teaches us much about contours, portraiture, and how to draw people. by Mark G. Mitchell Portrait of Charles- François Mallet 1809, graphite, 10 9/16 x 8 5/16. Collection The Art Institute of Chicago, Chicago, Illinois. So that’s
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  • Technique: Watercolor Pencils: Bridging the Gap Between Painting and Drawing
    Water-soluble colored pencils offer the perfect solution for artists who want to create watercolor effects without the hassle of watercolor paints. by Stephanie Kaplan Plumeria 2006, watercolor pencil, 8 x 10. Watercolorist Kristy Ann Kutch owned a set
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  • Drawing Basics: Henry Casselli's Portrait Drawings
    In the winter 2008 issue of Drawing magazine, we explored how Henry Casselli has looked to drawings to clarify his impressions and better understand his subject throughout his long career. Here, we offer more of his portrait drawings in this online exclusive
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  • Long-Pose Drawing Basics: How to Keep It Energetic and Alive
    A more finished drawing is possible when a model poses for an extended amount of time, but this luxury comes with particular challenges. Identifying and preparing for the potential pitfalls will improve your figure drawing . To read more features like
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  • Drawing Basics: BACAA Recommended Books
    In the fall 2007 issue of Drawing magazine, we highlighted the Bay Area Classical Artist Atelier as one of the most regarded classical contemporary schools in the country, offering students traditional figure-drawing training from today’s top artist
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  • Drawing Basics: Exercise the Imagination of Line
    This web-based art program seeks to explore drawing basics as essential modes of education not only in the United Kingdom but all over the world. July 22, 2007, Sunset in Verona at Ponte by Victor Timofeev, 2007, pen-and-ink and graphite, 9½ x
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  • Beyond Drawing Basics: Evidence & Interpretation in Master Landscape Drawings
    Many great landscape drawings were created as preparatory studies, educational exercises, or informational journals and not as finished works of art. We can now study those freely made graphic images for evidence of the drawing essentials , ideas, and
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  • Beyond Drawing Basics: Mise en Page
    by Bob Bahr Head of the Virgin in Three-Quarter View Facing to the Right by Leonardo da Vinci, 1508–1512, black and red chalk on paper, 8 x 6?. Collection The Metropolitan Museum of Art, New York, New York. Leonardo filled the sheet with the subject’s
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  • Drawing Basics: Preparing Your Surface
    In the June 2007 issue of American Artist, we discussed how the large charcoal drawings that Montana artist David C. Powers creates on toned pano Artistico hot-pressed watercolor paper are inspired by the feelings of danger, freedom, solitude, and the
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  • Drawing Basics: 70th Anniversary Competition Grand Prize Winner
    John P. Smolko won the Grand Prize—a new MetroShed, furnished by Blick Art Materials, for use as a stand-alone studio—for his imaginative colored pencil piece, Homage to Klimt (The Virgin). Read more about the artist, and view five online
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  • Drawing Basics: 70th Anniversary Competition Winners
    We present the semifinalists in the drawing category. by Karen Stanger Johnston Study for the Portrait of Autumn by Chusit Wijarnjoragij, 2007, brown and white colored pencil, 25 x 19. First Place: Chusit Wijarnjoragij For Thailand-born Chusit Wijarnjoragij
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  • Drawing Basics: Colored Pencil 70th Anniversary Competition Winners
    We present the semifinalists in the colored pencil category. by Karen Stanger Johnston Ya Reckin by Rosemarie Rush, 2006, colored pencil, 16 x 20. First Place: Rosemarie Rush Like most of the images of Western life by California artist Rosemarie Rush
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  • Drawing Basics: Printmaking 70th Anniversary Competition Winners
    We present the semifinalists in the printmaking category. by Karen Stanger Johnston Eulogy for Kreischerville by Bill Murphy, 2006, etching, 11 x 21. Image courtesy The Old Print Shop, New York, New York. Collection Newark Public Library, Newark, New
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  • Masters: John Ruskin and His Influence on American Art
    During the second half of the 19th century a single writer held enormous sway over the hearts and minds of American artists, critics, and their public. by John A. Parks Devonport and Dockyard, Devonshire by Joseph Mallord William Turner, 1825–1829
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  • Masters: Ingres’ Materials
    In the winter 2007 issue of Drawing magazine, we explored how Ingres taught us much about contours and portraiture. Here, we offer an excerpt from the feature about how the artist's use of graphite on smooth white paper was ahead of his time. by Mark
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  • Masters: Whistler's Mark
    This expatriate American turned away from realism to create an art of stylish and ethereal beauty, ably represented in his drawings. by John A. Parks Crouching Figure in The White Symphony: Three Girls 1869-1870, chalk on brown paper, 10 5/8 x 10¾
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  • Masters: Rembrandt's Shorthand Drawing Style
    The greatest of Dutch masters used a rapid, abbreviated technique in drawing to record visual impressions from the world around him and his own cornucopian imagination, foreshadowing developments in modern art more than two centuries later. by Joseph
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  • Drawing Basics: Classical Art in the Modern World
    Chicago’s School of Representational Art offers a classical art education in a modern world. by Mark G. Mitchell Tartan by Steve Ohlrich, 1999, charcoal and pastel on white paper, 25 x 19. On the top floor of an old factory warehouse in the arts
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  • Beginner Drawing Logic: Draw What You Don't See
    Faintly draw construction lines to remind yourself of the parts of the form you don't see. by Bob Bahr Contour of a Woman Relaxing by Alex Zwarenstein, 2002, graphite, 20 x 30. All artwork this article collection the artist unless otherwise indicated
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  • Drawing Basics: Understanding the Anatomy of the Ear
    A look at the anatomical structure of the ear, and some helpful tips on how to draw people . by Ephraim Rubenstein Maddie 2005, pastel on sanded board, 19 x 15. In this portrait of my daughter, Madeleine, her ear is lit very dramatically from behind.
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  • Beyond Drawing Basics: Ashcan Drawings
    The artists of the Ashcan School, known for their raw depictions of urban life, shared a background in newspaper and magazine illustration that shaped their drawing and painting styles. by Edith Zimmerman Far From the Fresh Air Farm by William Glackens
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  • Drawing Basics: Hard Edges, Bold Colors
    Screenprints can have subtle colors and edges, but the most stimulating examples are bold and crisp, as a selection from the Print Research Foundation, in Stamford, Connecticut, shows. by Bob Bahr The Hitchhiker by Robert Gwathmey, 1937–1943, screenprint
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  • Drawing Basics: Chat With Dan Gheno
    Read the transcript from our online chat with top artist-instructor Dan Gheno. If you have more thoughts to share, chat with your peers on Artists' Forum , and check back for more online chats with featured artists. This chat was brought to you by
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  • LESSON PLAN: Looking at Impressionist Landscapes
    This valuable lesson plan explains how to teach high-school students to draw landscapes. by Erica Yonks Green Trees 9th grade student, 2006, colored pencil. Grade Level: 9 Duration: three days Objectives • To depict landscapes with the illusion of
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  • Drawing Basics: Brian Bomeisler's Global Skills of Drawing
    We offered words of advice about drawing basics from Brian Bomeisler in the winter 2007 issue of Drawing magazine. Here, we present his five global skills of realistic drawing. Bomeisler helped a student correct and adjust the proportions of his self
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  • Drawing Basics: Painterly Effects With Colored Pencil
    California artist Alyona Nickelsen uses odorless mineral spirits to dissolve some of the pigment in her colored pencil drawings, eliminating the pencil strokes and creating rich, luminous color. by Lynne Moss Perricelli Sincerely Yours 2006, colored pencil
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  • Drawing Basics: Chat With Colored Pencil Artist Alyona Nickelsen
    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
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  • Drawing Basics: Drawing Without Symbols on the Right Side of the Brain
    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
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  • Drawing Basics: The Benefits of Sight-Size Drawing
    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
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  • Drawing Basics: How to Put the Human Form Together
    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
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  • Beginners Drawing: Making Better Lines, Making Lines Better
    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
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  • Drawing Basics: Understanding Anatomy of the Arm
    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
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  • Drawing Basics: Woodcut Prints or Oil Paintings?
    In the March 2007 issue of American Artist , Utah artist Brad Teare used a number of techniques to give his woodcut prints a fluid, organic quality that brings them closer in appearance to his plein air oil paintings . Here, we offer more the prints he
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  • Drawing Basics: How to Draw Dynamic Heads
    Depicting features is only the beginning. Putting life into a head drawing requires assimilating it with the rest of the body, capturing an attitude—and much more. by Dan Gheno Study for the Angel in Madonna of the Rocks by Leonardo, silverpoint
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  • Drawing Basics: From a Roman Fountain to a South Bend Studio
    In this excerpt from the fall 2006 issue of Drawing , David Mayernik discusses how copying the work of Old Masters trains his taste so he can draw and paint original work with the classical beauty he reveres. by Bob Bahr For David Mayernik , who has gone
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  • Drawing Basics: A Foreshortening Exercise
    This helpful drawing exercise for drawing faces appeared in the fall 2006 issue of Drawing . If you have trouble seeing and drawing the nose close to the eye when you are drawing a head, be sure to try this exercise. by Dan Gheno Skull From Above by Dan
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  • Drawing Basics: Modeling a Face With Light
    In the fall 2006 issue of Drawing , we explored the art of drawing realistic heads. Here, we present an excerpt from the article about drawing with light and shadows. by Dan Gheno Study of a Boy With His Hand to His Mouth by Giovanni Battista Tiepolo
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  • Drawing Basics: Put Your Head in a Box
    In the fall 2006 issue of Drawing , we explored the sometimes daunting task of drawing accurate heads. Here, we suggest one technique from the article that will help you use perspective to better gauge the tilt of the head. by Dan Gheno Stereometric Man
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  • Drawing Basics: Sargent in Black and White
    In the fall 2006 issue of Drawing , we explored John Singer Sargent's brilliant drawings. Here, we offer an excerpt from the article that discusses Sargent's use of light and dark values. by Mark G. Mitchell ”I think the chief characteristic
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  • Drawing Basics: Preserving the Landscape in Colored Pencil
    Ohio artist Linda Wesner depicts American scenes that are quickly disappearing because she feels it is important that the viewer recognize the universal theme of change. by Bob Bahr Light Along the Hudson 2006, colored pencil, 25 x 12¾. All artwork
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  • Drawing Basics: Linda Wesner's Colored Pencil Landscapes
    In the January 2007 issue of American Artist , Ohio artist Linda Wesner depicted American scenes that were quickly disappearing because she felt it was important that the viewer recognized the universal theme of change. We offer 16 more of her colored
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  • Drawing Basics: Measuring Facial Features
    In the fall 2006 issue of Drawing , we explained how to draw dynamic heads. We present an excerpt from the article about measuring facial features. by Dan Gheno In my “Portrait Painting” article in the February 1993 issue of American Artist
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  • Drawing Basics: Drawing Lessons from John Singer Sargent
    In the fall 2006 issue of Drawing , we explored how the best lessons in value, light, and form are clearly visible in John Singer Sargent's drawings. We present a excerpt from the article that discusses how he taught drawing classes. by Mark G. Mitchell
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  • Drawing Basics: Christopher Hart's Cartoons from Drawing Faeries
    We recently spotlighted Christopher Hart and his cartooning techniques. Here, we present more images from Hart's Drawing Faeries series (Watson-Guptill, New York, New York).
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  • Drawing Basics: Sigmund Abeles' Five-Minute Drawings
    In the fall 2006 issue of Drawing , we explored how Sigmund Abeles has shown several generations of artists the drawing basics : how to draw with organic lines, logical compositions, and lots of empathy. Here, we present an exerpt from the article about
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  • Drawing Basics: Lisa Dinhofer's Playful Oil Paintings
    In the summer 2006 issue of Drawing , New York artist Lisa Dinhofer drew convincing objects in imaginary spaces, finding meaning in both the items and their presentation. In contrast, we offer nine of her playful oil paintings in this online exclusive
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  • Drawing Basics: Between Drawing and Painting
    Chicago artist Tim Lowly communicates compassion and acceptance in his depictions of vulnerable humans. by Joseph C. Skrapits Portrait of K 2006, charcoal on toned museum board, 19 x 141/2. All artwork this article collection the artist unless otherwise
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  • Drawing Basics: Just Imagine--Drawings by Lisa Dinhofer
    This New York artist draws convincing objects in imaginary spaces, finding meaning in both the items and their presentation. by Lynne Moss Perricelli Into the Light: Yellow 2004, colored pencil and collage, 19 x 22. Collection the artist. New York artist
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  • Drawing Basics: The Emergence of Tonal Drawing
    Tonal drawing--the juxtaposition of relative values, the notion of seeing masses rather than outlines--more closely replicates the way humans see than do lines. This emotional way of depicting the world has been explored since Leonardo; modern artists
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  • Drawing Basics: Jon DeMartin's Drawing Workshops to Improve Paintings
    “One of the biggest reasons painters get into trouble is because their pictures don’t have a solid foundation of accurate and expressive drawings,” says New York artist Jon DeMartin. That’s why his drawing workshops are so helpful
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  • Drawing Basics: Inside the Atelier: Learning How to Draw on the Right Side of the Brain
    As the son of Betty Edwards, the author of Drawing on the Right Side of the Brain , Brian Bomeisler helps students access the right side of their brains to improve their drawings. The following describes the first day of Bomeisler’s five day drawing
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  • Drawing Basics: When It Hurts to Draw
    Drawing can cause a repetitive strain injury (RSI), but with a few precautions and the right equipment, this risk can be minimized. by Edith Zimmerman Drawing is not usually thought of as a high-risk occupation. Calluses, dirty fingernails, stained clothes
    Read More >>
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