You are on page 1of 16

DRAWING

FUNDAMENTALS:

SHADING

RENAISSANCE-STYLE

SKETCHBOOKS

Draw with a Tool of the Masters

THE QUILL PEN:

Untitled Idetail)
by Mark Tennant


a rtl std a iIy..co m

WINTER 2010

CONTENTS
4 Editor's Note 5 Contributors 6 Sketchbook 16 New & Notable 18 Where to Study Drawing: A Sponsored Guide to Some of the Best Educational Programs 20 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 the charcoal to establish shapes that are lighter in value.

28 Drawing Fundamentals: Modeling Gradations


BY JON DEMARTIN

By modeling gradated values on shapes such as cylinders, artists can draw realistic forms that turn in space.

34 The QuillPen: How to Draw With the Tool of the Masters


BY JOHN A. PARKS

Both Old Masters and contemporary artists have taken advantage of the wonderfully sensitive marks made by this classic drawing implement.

44 Beauty, Balance, & Accuracy


BY AUSTIN R, WILLIAMS

Mark Tennant's drawings evidence both rigorous academic standards and sensitivity to the nuances

of the figure.

COVER

Untitled (detail) by Mark Tenn ant,


2009, charcoal. 24 x 18_ Collection

the artist.

52

A Colored Pencil Artist Emerges


BY AUSTIN R. WILLIAMS

Holly Bedrosian has found success with self-portraits and drawings of hands that embrace, rather than hide, imperfections. 58 Making Quick Progress With a Confident Hand
BY BOB 8AHR

Although [ean Marcellino's success in drawing and painting seems quickly attained. it owes much to achievements in her We and in her previous career. 68 Learning From the Sketchbooks Leonardo
BY ALLISON MALAFRONTE

of a Modern-Day

Michael Mentier has filled dozens of sketchbooks with detailed drawings of the human form as a way to continually grow and develop as a draftsman. Here the artist shares a sampling of those sketches. as well as insightful notes on his process. 78 Interior Views
BY KENNETH J. PROCTER

Artists can use interior spaces to represent everything from a narrative of historical decline to intimate scenes of private life. 88 Agnolo B.ronzino: The Drawings of an Italian Master
BY JOHN A. PARKS

A new exhibition provides fresh insights into the work of a great master of Florentine Mannerism. 96 Coming in...

44

AMERICAN

VOLUME7 -ISSUE 24

Dr~w!ng
..
ED ITO R·I N·CHI E.F

ARTIST

LEARNING IN MANY WAYS


There is no one correct way to learn, and art education takes many forms, ranging from multiyear atelier programs to online question-andanswer discussion boards. Some artists learn best in live workshops, whereas others prefer textbooks. Within each of these types of education are a multitude of instructional strategies and learning methods. Even within the confines of a print magazine, an artist can learn in many ways. One of the great things about working with the artists and authors featured in this issue is that they are all eager to impart knowledge in a way that is specifically tailored to their art and expeSAVE THE DATE FOR riences. Jon deMartin's series WEEKEND WITH THE on the fundamentals of drawMASTERS 2010 ing covers key techniques, and Plans are being finalized for the in this issue he teaches how to 2010 Weekend With the Masters model values on a cylinder event at the Laguna CliffsResort & (page 2.8).Through informative Spa, in Dana Point, California,and demonstrations, Jsn Hagen at the nearby Laguna College of Art and Jean Marcellino teach us + Design. This rare opportunity to how they draw the figure in learn from top artists willbe even charcoal and graphite, respecbigger and more popular than the tively (pages 20 and 58). If you phenomenal 2009 program held in learn best through trial and Colorado Springs. Make sure you error, be sure to look at John are part of the historic event by Parks' article about the quill saving the dates of September pen. Parks was intrigued by 23-26, 2010 and registering in the classic drawing instrumid-April. he finalroster, registraT ment, and he relates his expebon details, and program informariences with it, including trial tion willsoon be available at and error advice essential to WVIIW.wee'kendwiththemasters .. om. c any artist looking to experiment with the quill (page 34). Much can be learned by studying the artwork and processes of contemporary and historical masters. Mark Tennant is a longtime teacher who shares important advice for up-and-coming draftsmen (page 44), and Allison Malafronte looks at Michael Mentler's extensive sketchbooks, which are reminiscent of Old Master artwork (page 68). Those of us who enjoy learning from masters of the past can also gain much from Ken Procter's guided historical tour of how artists have drawn all kinds ofinteTior spaces (page 78).

EDITORIAL

M. Stephen
MANAGING

Doherty
EDITOR

Brian F. Riley

SENIOR EDITOR Allison Malafronte


ASSOCIATE EDITORS

Naomi EkperiBin (646) 841.0°5° Austin R. Williams


CONTBJBUTtNG EDITORS

Bob Bah, • Lynne Bahr» Dan Chene 10hu A. Parks • Kenneth J. Procter
A.BT AlIT DIRECTOR

[ames

B. Bogner !H

ASSOCtATE ART Dt RECTOR

Jill

Burks

PU8l..1SWN(] PVBlISHER

David Pyle

lim

MEDIA SALES Dt RECTOR Mcintosh (513) 96',0°34 MEDIA SALES MANAGERS

Suzanne Meye' (970) 685·o!09


ONLINE

Mal)' Md"lne

(970) 29°.6065

Karyn Meyer. Berthel

PRODUCT

DEVELOPMENT

MANAGER

AD TRAFFICKERS

Teresa Wa'ren
CtRCULATION

• M elis Sa Brown
D.lRECTOR MANAGER DEVELOPMENT MANAGER

Bob Kaslik
CtRCULATtON

Shei I. Derri n gro" Trl cia. G dowik


MARK.ITlNG WEB BUSINESS

Annie Hartm a 11 Bakken


PRODUCTION PRODUCTION PRODUCT.lON DIRECTOR EDHOR

MANAGER

Nancy M. Pollock

Nancy Arndt

FOR. SUBSCRIP'I'lON

INQUIRIES

1866) 9'7-)8881 U.S.) • {76o) }'7·"316 D[awing@pcspublinkcom

{outside U.S.)

it INTERWEAVE
toll tfDi:lI;. CIl~.A1·IV~ bl A:~T[1I':=

PRESS.
Ltnda Ligen

1'll.Esm~r.:I:

c::;m:C~y.ll.I"illl M_'lrtl)'q Murph)' 0"0:: lrofWclk

VIa. VIt:E

PM l!::imrNi,

'Vtt:(

'VIC! IlB:l3JDEtiT

rlJmiiol:tIT, C-Qt.;S.u~flill: JoI,I,t:!OI'TU;:(j: E!.ob i(;ulik ~LE! &: ItlAHU, ~Nr.;: Stephen t::.OC'i]i:g 1'Il~I~ 1'llOO'Uc:rm"': Trnh F.imlJi.on \ilq. r:1I~~lnt!I'l1.1'i-DlisQIQ(;'·: H::IIWY TI_ A"ID DQ\I'JOO~ J'lffiUSUEI r.:»:: AlIT Af!,'D ll:.Wl!LIIY. ~~itJ

P;rlt

~ i!!d.i10iUl mail '0 Orr \'II,.'Jo\(:. 29 W_ 4GLh si, Fk ~w Y(lfl-:. DI'I'AYi1rNG ""elC.rnll~ ed.i1'Od:lJ submbslcns, 'bul tlSSLlJI~('" 00 ~bilil)' I.hl!lai:s:ordiJ~r:tf.ilI'Yl.IJ'ISIr.I!iciblll1DlL'riJLU~tOOll1:J.teri.l,mll!';r k 3«OrtI p.~llicd by ill scl!=iII.!~'CI. stamped envejcpe, TJI'c' iXiIH~J1oI:S I~~ p!.INh:::itio:n
wholJ!l oc in part
f'll§I), ncr bt.: ~ro ... '-'uced In l'ri1.hooL the consent -of'lhl:" Coprri~l\ OWTler, 11l1.er"L'>~~Press • .I;I ~J[vfs:loo ~J A:!:pire ,'l.tal!a.

,n3

NY lDO,G_

IDr

-ur

AUSTINR. WILLlAM.S Associate Editor mail@artistdaily.com

Ri$:Ij~1"!i! T-o Ql'T}' D,rmJ!ij~in )~ur s.1.Q~. can rrD .11 ,..g66-'47)~,800, or wti!('i; A.rni:ric:a.11 Ari±!il O~1a- DC'pt .• elf] IPO Sourtl:: hlkrllilk Compaures. 6 fglws;].;: 8hiL. San Oi~. CA 92.121--:2.729AlJ';.3nli(Jn

.~
PRJNTED IN

U.SA

4 DRAWlNG

ASrJRt
MmlA

AMERICAN
. . .-. ~--

artistdai

ra;
Iy .com
70

ARTISTI

_. - _.1

FALL 2CIQ

CON
4 7
8 18

Editor's Note Contributors Sketchbook Where to Study Drawing: A Sponsored Guide to Some of the Best Educational Programs How to Draw the Arm With Strength and Conviction
BY DAN GHENO

22

By strategically employing line and value and utilizing anatomical knowledge, artists can draw arms that enhance the realism of the figure. 38 Drawing Fundamentals The Figure in Action: The Inner Axis and Surface Centerlines
BY JON DEMARTIN

By fmding and sketching both a form's inner line of action and various centerlines on its surface, you can better represent a figure's gesture and orientation in space.

COVER

Self-Portrait (detail)

With Hermes by Kale Sa mm on s, 2008, charcoal, the artist.

26 x 32. Collection

46 Focusing on the Edge


BY TIMOTHY W. J'AHN ANO ANTHONY WAICHULIS

This step-by-step demonstration explores strategies for improving your use of edges, one of an artist's most versatile tools.

52 In the Light of Darkness


BY KEN NE"TH J. PR OGTER

Night scenes present draftsmen with intriguing challenges. Historical and contemporary artists have employed numerous techniques-induding contrast, mystery, and ambiguity-to depict many incarnations of nighttime.

46

62 UsIng Materials 'rh.at Reflect Your Subject Matter


BY DEAN DALF ONZD

For her drawings exploring industrial neglect and decay, Stacy Seiler uses materials such as charcoal and lusted iron, which are closely connected to the world she depicts.

70 Using the Figure to Pose Maj.or Questions


BY AUSTIN R WILLIAMS

Noah Buchanan's graphite drawings use the human figure to explore issues of art, science, and humanity, and to synthesize the influences of multiple historical schools.

62,

80 Drawing With Wire land Sugar, and Porcelain,


and Photographs. .. 1
BY BOB BAHR

Susan Graham works in a variety of media, many of which are untraditional, and her impressive artwork quickly raises questions about line, tone, and the essential elements of drawing.

88 Dramatic Shadows & Subtle Meanings


BY AUSTIN R. WILLIAMS

The charcoal drawings of Kate Sammons boast striking highlights and deep shadows, as well as quiet, multilayered meanings.

96 Gaming in ...

EDITOR.S

aTE
BI)ITO!l'.u, eOIToRIA~

CONTINUING LEGACIES OF ARTISTIC INSTRUCTION


In many studios and schools aCIOSS country, veteran artists dedicate rime the to teaching. \Vhether through formal classes or extended one-on-one mentor" ships, these artists pass on techniques and instructional traditions that have lasted for centuries. The selection of artists featured in this issue reveals the importance and effectiveness of these educational relationships .. This issue's (over basks in the deep shadows of Kate Sammons' stunning Self-Portrait With. Hermes, a drawing that plays with notions of viewer, subject, and illusion (page 88). Sammons cites her studies with trornpe-l' oeil painter Anthony Waichulis as particularly influential in her development as an artist. Although her drawings do not greatly resemble the work of her former instructor, one can see some shared thematic interests-e-issues of perception and reality lie at the core of the trompe-l'oeil style, just as they are key to Sammons' drawing. It happens that WaichuJis is the co-writer of an article in this issue. He and Timothy W. Jahn, another of his former students, explain how edges can irnpact the development of a drawing-a subject any aspiring draftsman should study carefully (page 46). Elsewhere in this issue you'll find the graphite drawings of Noah Buchanan (page 70), who studied with several prominent artists, including Steven Assael, Martha Erlebacher; and Frank Galuszka. Another of Buchanan's former teachers happens to be Jon deMartin, a contributing editor of this magazine and the author of OUT Drawing Fundamentals series. In this issue, deMartin examines how draw, ing a centerline helps express a figure'S essential gesture (page 38), a subject that Buchanan also speaks to in his "Laws of Figure Drawing" (page 74). These con vergences of instructors and students were not planned. But the fact that one issue of Drawing can by chance feature multiple pairs of master artists and their former students speaks to the importance of these bonds and the success of these mentorships, It should also be noted that Sammons and Buchanan, the two "pupils" I've mentioned, have developed original ways of expressing their vision through drawing, and are now instructors themselves, working to carry on the educational traditions in which they were taught. It's only a matter of time before we fea ture an artist who happily surprises us by championing their influence, and in doing so continues a long, unbroken line of master draftsmen.
Midm,l Gormley
MANAGING 01 REcrOR EDITOR

Brian

r. Riley

SEN!OR EDITOR

Allison Malafronre
A.SSOCIATE EDITORS

Naomi Ekperigin (646) 84 '·0050 Austin R. Williams


ONLINE EDITOR

Courtney

Jordan
EDITOR$

CONTRIBUTING

Bob Bah r • Lynn" Bahr Dan Gheno • Ion deM.rtin John A. Parks • Kenneth J. Procter
Al1T

ASSOCtATE

ART Dt RECTOR

Jill Burks
PDBLHJ"HING

PUBLISHER

David Pyle

M HDIA SALES Dt RECTOR

Jim Mcintosh (5'3) 961.0°34


M WIA SA LE, MANAGERS Mary Mcl.ane (970) ~9o·6065 Suzanne Meyer (970) 68S·OT09 AD Tl1.AFFICKERS

Melissa Brown. Tina Rolf


CIRCUlATION DIRECTOR MANAGER

Bob Kaslik
CtRCUlATiON MARKETING

S he lla Derri ngron


Christan

Humphries

MANAGER

PRODUCTION

PRODUCTION

DIRECTOR

Namy M. Pollock PRODucnON EDITOR Nancy Arndt VrDEO MANAGER Garretl Evans
Fon SlUl]SCRJPTION INQUIRIES

(S66) 9 'nSSS

(U .S.) • (760) JI7·2),6

(outside

U.S.)

Dr.wing@pcspllblink.com

" INTERWEAVE.
FOLF!>MJI.CA5:ATlVI'tllHcrott: ern;

a .. [l ~

T.i nila J-Ia31

UgQU

'II'I'O!I ~IlE"Ufl'!rJ,

(J;l'll~~R

lA"'U:IjTl~;

Bob Ka~il;

ueu

~Ibl

tLT, ~

& r"JMiil'~'I~G.;
PR'OOIi.~:

VI~f!IIF$I~)«, \<10; ~KI:!lIf.lIO::-(j"t

AUSTIN R. WILLIAMS Associate Editor mail@ArtistDaily.com

"lCIi 1tIES"IOOooToI.).'T) ~'rl~fU1FIII

Kl)(!nil; Trisb F.mhjo~ "'1'I:CI1!1"Ql.DI::'f: T.,. i-b:rdy me ...IIT"SV [P'1'11!T.: O~


Sltph!.!"Jl

P'FI~

Si:'l~dcd[[griiillTlilil to Dw;,. r.oJ(i:,.2.~ W. 46dl St.• ~n1Fir, fI,'o;'W Yook. NY IOO~6. . ORo-unHC·Y.'clc;o~cdi,.l.')riiJ1 snbmlsstone .. 001 assames IlCJo~bilityfor !he IO!>!ibrdil[rl~'I!Iriilny ~1IiI RIiIkr'iilL Uru;oIkJted r'Ilil~iil muet bcaccem p~ nied by:J 5A!1r-,](Jd~_ ammped envelope, The contents of 1hi:sJ publLaJ.tion m.:J.y no! 1M!' nrpreduccd ln ..vhole fn part willlouL tht ~nt<lnt.or1ht't:{lpfd~l OIvnt'1'.
I;)'f

1111l!.twnvt=! p~ Ani;!rLlinn R'l!tli~

:J,div1sir,!n_ To

of A~p:ire

M;:ot!i:J_

1i1J)rt!', call 11'O.'l.1 r-86G-4:;'148¢.O. or 'Wrill~AmtdCLu~ Ar1RiIDI."1kr Oi:'p&.. Ljo IPD Sour(e-Inlcrlink. Ccmprnlcs. 619'> l..llsk Blvd., StD_n. Diego, CA 92.12]-2.7~9('.:irry

Drnwir.lg! in yrmr

iiamlaPRtNTED IN U.SA 4 DRAWtNG


ASPtRE MfDlll

AMERICAN

ARTIST

SPRING 2010

artistdaily.com

CONTENTS
4 Editor's Note
7
8 14

Contributors Sketchbook New & Notable The Ryder Studio School: Drawing on .Light & Form
BY A LLI SON MALAF RO tilt

20

Artists who want to learn Anthony Ryder's fourstep 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.

32 The Core Figure: A Source of Power and Accuracy


BY OAN GHENO

Much of a figure drawing's energy-as well as a subject's likeness-comes from the compelling and accurate representation of the torso.

48 Singular Objects
BY KEN NETHJ. PRO CTER

Historical and contemporary artists have endowed all manner of natural, manmade.and imagined objects with expressive power and layers of meaning. 78

COVER

Idaline [detail] by Antll o~y Ryder, 2007, graphite and


pastel on tinted

paper, 14 x 10. Coli ec lion th e a rti 51.

68

Drawing Fundamentals:
BY JON DEMARTI N

Shading the Sphere

Depicting light and shadow are essential to creating the illusion of three-dimensional space when drawing subjects such as spheres, ovoids, and the human figure. 66 Rivals in Rome
BY EPHRAIM RUBENSTEIN

The I6Jh·century Italian drawings in a recent exhibition at The Morgan Library & Museum, in New York City, are beautiful working drawings that point toward grand final creations far beyond the edges of the paper and reveal the competing influences of Raphael and Michelangelo.

78 Real World Anatomy: Andrew Gerndt at the School


of Visual Arts
BY JOHN A. PARKS

Master instructor Andrew Gerndt teaches his beginner students to create drawings of extraordinary quality. 86 Degrees of Interpreting
BY BOB 6AHR

Reference Material

Chris D'Angelo ignores the pressures of his schedule and others' perceptions and-using photographs and other reference material in various ways---ceaselessly works to create woodcuts that contain "something tangible." 96 Coming in...

f.)mM"Il11ss~ ;94 40 I.ru< ~'5' Is rubl"'l ..... q_u::urh~t!:fIlf I.nl~ Pte~~~Ol 'E. r'(HlTth ::it'l Lr,r"j.md. co &W. CDpynghl e .oro by ~"""""",,, p""" , '""I",," 11,1"'" ,[I nilhb> reserved, 11,10 "'Il~ (III enus, I':U~I OEll"" S,dr«:riptro"" "",S'1-95 P"rJ"lIIHtoo,.,.,;c S~7·95 Cr.n' da,n n<! S~O-9j 011 Qd,,.,. ,"",nW:o. """ymt", in US funds .,.,Iy. "'Tlre"'cooll'tnlS Qfthl:j. pubbcannn ~y m:!1 tx-lt'p~u.ceI eltbcr In wtUJ~ crt In p;nt'WtI~t C[]Jl5Cn1 tftht: <Opydghl ,"""'~ D"'wln~ '" pnl1«<1 ln d,e POSTh!lImll; $.00 <h>"1l'" 10: Drono.;w. 1'.0. B""~b~"1S. ~ido. CA 9"'4~-

,..sr

or

M~".

>dci""'.

u.s....

EDITOR.S NOTE

AMERICAN

Drawinsr 2~--erc
VOLUME 7 • I~~!~
Iltl!TOIII"-l. son·ORIAl OJRBCTOR

AR~rIST

Michael Gormley
MANAGING EDITOR

Brian F. Riley SENIOR EDITOR


ASSOCIATE

Allison Malafronte
EDITORS

Naomi .EkperiginI(46) Austin R. Williams ONLINE EDITOR Courtney Jordan

841.0050

FIGURE DRAWING: WHERE TO START?


At the beginning of his article in this issue, Dan Gheno poses a question that can frustrate professional and amateur draftsmen alike: "Where do I start?" A blank piece of paper is often intimidating, especially when an artist is hoping to produce a realistic, finished drawing ofa subject as endlessly fascinating and challenging as the human figure. Several of the artists and instructors featured in this issue offer specific recommendations to help artists begin their figure drawings and overcome their fear of the blank sheet. For Cheno, drawing the human body begins (and ends) with the complex, interlocking forms of the torso, also called the core figun (page 32). Anthony Ryder, in Contrast, doesn't begin with a specific part of the body. Instead, he begins by drawing what he calls the Envelope-a large polygon tailored to the model's pose that encompasses the finished figure .. Ryder offers Drawing readers a demonstration of his four-phase drawing technique (page 20), and artists have the opportunity to learn more from him this September when he teaches at American Artist's Weekend With the Masters. Andrew Gemdt, an instructor at the School of Visual Arts, takes a different route, teaching his beginner students to draw the figure through making many careful studies of the human skeleton (page 78). In his article about artists in 16th·century Rome, Ephraim Rubenstein shows that in some ways many historical artists were little different than the artists and teachers of today-s-even artists from the same period and same region often took hugely different approaches to drawing. Draftsmen were strongly influenced by the artwork of Michelangelo and Raphael, and as a result of these competing influences-s-along with other historical circumstances-many oftheir figure drawings differ greatly from one another in style and sensibility (page G6).

CONSULTING

EXECUTIVE

EDITOR

Doherty CONTRlaUT!~G EOITOIl.S Bob Baht • Lynne Bahr • 0"0 Gheno ) 011 0 A. Parks • Kenneth ). Procter
ART

M. Stephen

ART DIRECTOR ASSOCIATE

James B. Bogner ITl

Jill

ART 01 RECTOR

Burks

P[J'BLISn.JNG

PUBLISHER

David Pyle MEDIA SALES DIRECTOR Jim Mcintosh 1513J961.0034


MEDIA SALES MANAGERS

Mary Mdane.(97o) "9°.6065 Suzanne Meyer (970) 685. oro 9 ONLIN E PRODUCT DEVELOPM ENT MANAGER

K~ryn Meyer· Berthel

AD TRAFFICKERS Teres. Warren.


CI RCULi\TION

Melissa Brown

Bob Kaslik

DIRECTOR MANAG~R MANAGER

CIRCULi\TION MARKETING

Sheila Derrington

Annie Ha rtma n Ballen


rTtODUCTJON

Nancy M. Pollock PRODUCIION EDITOR Nancy Arndt


Fon SUESCarJlT10N

PRoDucnON D1RECTOR

INQUIRIES

1866) 9l7·3888 (U .S.) • (76o) 3'7.2316 (outside U.S.)


Drawillg@pcspublink.com

flt INTERWEAVE.
H:lu::tilD£~. DlElJ.TI\I'E D!l1!F._CI'U.il~ Li nda tfgcn ceo: Ct ..:r- 11. 1-1 ~ll f'A.T:'sII;l~1IJI. M.rnl)'n, M LI rp"~' cro:'-m)'Wdls M,I,IU:Rnt.:(;: ~"'MI.I'TI LtG:: VIa ~1tJ~IUI;'!I."r. ~MFY

BlJ'b I(;lillll:

Vlt:'HfiI~I».t..l'lT,

.11.! E~ &

Slq1lum j{Oi.:!ni~

~CB~T.

~'crtQt.t;

1fII;F.I'lIJ'3illENT."'TF.CIIr."l;:Il.D(;.\':

Tdsh l=.aubkJu T-J-t-I:;II!'tIy P'yJ~

AUSTIN H. WIUlAMS Associate Editor mai1@ArtistDaily.com

"'IC~ ~1Dtl"iT

MI)

.. Ullu:nln

11liI: "Iff MJ) 15\1;Ll.II~: O:'li¥UJ

~'d~lli»riLJ.l manto OIt.ll'l.rr."JG.. w_ 4Gth St .• ~,d Fir, N-ew 'l'Mk. NY ~9 DJt.I.... r,..,'(:wdoolIl:L'S(.-dihrrlMls:ubmi::uia-n .... btl! :5SurnL"S IJIj~bill'lyfur U:u: 10000'IlI'tL~f.lril~ UjlSi:lllc:i~ m:i!:~rt.'1.U~Iii:lted li'I:II!t.nalI'f'lU~. be accampemed bya !lI2lr-udJ~. a.... amped envelope, The contema cf Ibis puhlic.a.lion limy nel he reproduced [1"1 iJ,1:to1~got in p:iln w'~lbO\llt the: l;I)rl:Wl:'!l or1hlo" ~t!fYMghL tTW'!It'T. I Lltt:rwt!3'r"C! PMs. ;i {li'li!;~n {If Aspire Media,
AttCOllLLoIl Ri"tlil...."I1S:::

IQO~6..

~.:::w,ce

to ~

w~.C': A~ri,C[jfi Ccmpa..IlJ~. 619'$ l.u.!;1!;

Hf...'d.,

Dmwin;;l in yom store, emIl JPD at 1-S66'.q,71Artist Oe-.1ler Depr..(,{O IPD So ••see r!u~rllid: San DlrgD, CA ~r;r.I':2.D· :il.7:J9.

liamtaPRINTED IN

U.SA

DRAWtNG
A.SPIRE MEOlA.

Pick the Perfect Paper for Your Drawing

Special Se ·on:

10 eVER COMPETITION WINNERS

SHARE THEIR DRAWING STRATEGIES

HowtoDraw and Flaring Harms

Complex FormsMade Simple:


PLUS:
THE ART OF ILLUSTRATION ALTERNATIVE DRAWING MATERIALS EXPRESSIVE CHARCOAL PORTRAITS

AMERICAN

ARTIST

SUMMER

2010

artistdaily.com

CONTENTS
4
6 8

Editor's Note Contributors Sketchbook

14 New & Notable 18 Choosing the Right Drawing Paper


BY KAREN MEYER ·BEHTH [L

TIle many differences between drawing papers can be so subtlethat 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.
28

Cover Competition Winners Choosing the winners of this year's Drawing Cover Competition was no easy feat. Hundreds of artists submitted work that demonstrated a passion for the art of drawing. The following IO artists stood out from the rest with their skill and commitment, employing any tool or technique that would best capture their subject.

86 .' '

"'.

COV~R

Wet H.alr (detail,

reversed] by Jonathan J. Ahn..


2009. charcoal. 24 x 18. Collection
the artist,

40 Drawing Fundamentals: Drawing Tapering and Flaring Forms


BY JON DEMARTIN

By knowing how to draw forms that contract in places and expand in others. an artist can accurately depict many complex. natural shapes. including the human figure.

46 The Body Speaks: The Charcoal Drawings of Julian Farrar


BY JOHN A. PARKS

28

This English artist uses the humble pencil to create works of vast scale. dramatic power, and psychological depth.

56 Searching for Drawing Materials Used by the Italian Masters


BY M. STEPHEN OOHERTY

Matthew T. Collins-an instructor at Charles H. Cecil studios in Florence-has been conducting research into drawing instruments and papers similar to those used centuries ago by the great Italian artists.

60 Drawing the Line: The Role of Drawing in Alternative Media


BY KENNETH J. PROC1iER

line can be a visible, creative force in many media that are not traditionally thought of as drawing-including painting. printmaking. and sculpture-csuggesting that possibilities for drawing extend far beyond pencil and paper.

46

72 Take a Tonal Approach to Creating Portraits


BY BOB BAHR

Los Angeles artist Ira Korman makes powerful portraits using charcoal and stump.

80 Drawing Contemporary Figures Using Traditional Methods


BY M. STEPHEN DOHERTY

Todd Yeager depicts the often gritty and isolated world of urban youth using the traditional method of building up hatched and crosshatched lines on toned surfaces.

86 The Art of Dugald Stermer: Grace on the Printed Page


BY JOHN A. PARKS

This California illustrator employs a simple technique backed by acute observation and sheer good taste.

96 Coming in...

AMERICAN

EDITOR.S NOTE
THE RIGHT DRAWING MATERIAlS-A PERSONAL CHOICE
Deciding to develop one's drawing skills can be quite simple-s-the passion and excitement for art quickly take over and speed a budding artist forward. However, once this decision is made, one must answer crucial questions in order to begin the creative process: What materials do I need? Which products or brands are best? How much do [ have to spend? Answering these can be particularly daunting for beginners, who have yet to develop a signature style. Simply buying high-quality materials does not make anyone a great artist However, discovering the right materials for you-whether this means top-shelf papers and pencils or something entirely differel1t--can lead to great artwork. The articles in this issue address the questions surrounding drawing materials from a variety of angles, Michael Collins, an artist who creates his own sticks of sanguine and charcoal, explains why and how he makes his own drawing implements (page 56), In our Special Section on Drawing Papers, Karyn Meyer-Berthel looks DRAWING'S2011 COVER COMPETITION! IS UNDERWAY! at the history of paper manufacturThe 2.011 Drawing Cover ing and the advantages that difl:erent Competition is currently acceptpapers offer (page I8)., In a more uning entries, The annual competition traditional vein, Kenneth f.. Procter places one artist's drawing on the conducts an enlightening survey of cover of the magazine, providing Alternative Media. He shows how national exposure, Youcan see media ranging from oil painting the work of this year's winnsr, to bamboo sculpture are close kin Jonathan J Ahn, on this issue's to drawing because of their shared cover, and profiles of the 10 finalreliance on line (page Go), ists begin on page 28, This is your Over the course of their careers, chance to share your work with the other artists featured in this the world, The deadline for enissue have all found the materials try.is August 31. That's coming that allow them to best express up very soon, so enter today, For their visions, Julian Farrar and details, see page 41, or visit www. Ira Korman work with charcoal in americanartistcompetitions .corn. wildly different ways yet achieve equally stunning results (pages 46 and 72, respectively), Todd Yeager and Dugald Stermer have also adapted traditional materials to suit their styles through decades of practice (pages 80 and 86, respectively), And perhaps there's no better evidence of the variety of drawing materials available than the finalists of our 2010 Cover Competition, who all produced beautiful drawings covering a range of media, subjects, and styles (page z8), I hope the articles in this issue will inspire you to further your drawing skills and try out new tools to help you realize your artistic vision,

Dra'I71Tl~® ..
VOLUME 7 • I~~~
8DI'I'ORI»L eOITORIA~ DI RECroR EDITOR

ARTIST

2~~Q

Midm,l

Gormley

MANAGING

Brian r, Riley
SEN!OR EDITOR

Allison Malafronre
A.SSOCIATE ED!TORS

Naomi Ekperigin (646) 841'0050 Austin R. WHliarns


ONLINE

Courtney Jordan
CONSULnNG

EDITOR

M. Stephen Doherty

EXEClJT1VE ED!TOR EDITORS


«

CONTRIBUnNG

Bob Bahr . L)'TlIIe Bahr J oh n A. Parks • Kenneth


ART ART DI RECTOR

J, Procter

Dan Chene

B. Bogner III TO ART DI RECTDR Jill Burks [ames


ASSOC!II
PUBLIffHING

PUBLISHER

David Pyle
M HDIA SALES DI RECTOR

Jim Mcintosh
M WI"

(5J3) 96J'0034 (970) ~9o·6065 Tina Rolf

SA LE, MANACERS

Suzanne Meyer (970) 685'°'09


AD TRAFFICKERS

MaI), Mclane

Melissa

Brown.

C!RCULATION

DIRECTOR MANAGER MANAGER

Bob Kaslik
CIRCULATION

Sheil. Christan

Derri n gtoll Humphries


DIRECTOR

MARKET!NG

PRQ.DUCTJON

PRODUCT!ON P~ODUCTl

Nancy M, PoUock
ON EDITOR

Nancy Arndt
FOR SOiDSCRIPT10N INQlllRIEB

(866) 917'3888 (lJ ,S.) • (760) 317'2316 (outside Dr. wi 0 g@pcspubILok.com

U.S.)

" INTERWEAVE.
FOLF!>MJI. CA5:ATlVI'

ern;

a .. [l ~

tllHcrott:

T.i nila J-Ia31

UgQU

'II'I'O!I ~IlE"Ufl'!rJ,

(J;l'll~~R

lA"'U:IjTl~;

Bob Ka~il;

ueu

~Ibl

tLT, ~

& r"JMiil'~'I~G.;
PR'OOIi.~:
"'1'I:CI1!1"Ql.DI::'f:

VI~f!IIF$I~)«, \<10; ~KI:!lIf.lIO::-(j"t

"lCIi 1tIES"IOOooToI.).'T) ~'rl~fU1FIII1::{iii:

Kl)(!nil; Trisb F.mhjo~ T.,. i-b:rdy ...IIT"S(iI [P'1'I1!T.: O~


Sltph!.!"Jl

P'FI~

St:':i~dcd[[griiillTlilil to Dw;,.. r.oJ(i:,.2.~ W. 46dl St .• ~nIFir, fI,'.;"W Yook. NY IOO~6. ORo-unHC",'clc;o~cdi,.I.')riiI1 snbmlsstone .. 001 assames 1l00~bilityfor !he IO!>!ibrdil[rl~'I!Iriilny ~1IiI Rliltal.iiL Uru;oIkJted l'Ilil~iil muet bcaccem p~ nied by:J 5A!1r-.](ld~_ ammped envelope, The contents of 1hi:sl publLai.tion m.:I.y no! 1M!' nrpreduccd ln ..vhole fn part willlouL tht ~nt<lnt-or1ht't:{lpfd~l OIvnt'1'. 1111l!.twnvl:!.r~ :J.div1sir,!n. of A~p:ire M;:ot!i:J.
I;)'f

Atl:i;mlinn

R'l!tli~ To ('.:irry Drnwir.lg! in yrmr 1i1J)rt!', call ]1'0.::1.1r-86G-4n48¢.O. 1)~ 'Wrill..~ AmtdCLI.I~ AI1RiI DI.."1kr Oc<p&.. Ljo IPD Sour(e-Inlcrlink. Ccmprnlcs. 619) l..llsk Blvd., S,D.n. Diego, CA 92.12]-2.7~9-

AUSTIN R, WILLIAMS Associate Editor mail@ArtistDaily,com

..s

iiamlaPRINTED IN U.S,A, ASPIRE MfDlA

DRAWtNG

You might also like