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FUNDAMENTALS:
SHADING
RENAISSANCE-STYLE
SKETCHBOOKS
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.
By modeling gradated values on shapes such as cylinders, artists can draw realistic forms that turn in space.
Both Old Masters and contemporary artists have taken advantage of the wonderfully sensitive marks made by this classic drawing implement.
Mark Tennant's drawings evidence both rigorous academic standards and sensitivity to the nuances
of the figure.
COVER
the artist.
52
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
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[ames
B. Bogner !H
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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)
26 x 32. Collection
This step-by-step demonstration explores strategies for improving your use of edges, one of an artist's most versatile tools.
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
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.
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,
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.
The charcoal drawings of Kate Sammons boast striking highlights and deep shadows, as well as quiet, multilayered meanings.
96 Gaming in ...
EDITOR.S
aTE
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r. Riley
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A.SSOCIATE EDITORS
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Jordan
EDITOR$
CONTRIBUTING
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Al1T
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PDBLHJ"HING
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David Pyle
Bob Kaslik
CtRCUlATiON MARKETING
Humphries
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DIRECTOR
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Fon SlUl]SCRJPTION INQUIRIES
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Dr.wing@pcspllblink.com
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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.
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
68
Drawing Fundamentals:
BY JON DEMARTI N
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.
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~-
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Drawinsr 2~--erc
VOLUME 7 • I~~!~
Iltl!TOIII"-l. son·ORIAl OJRBCTOR
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MANAGING EDITOR
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ARTIST
SUMMER
2010
artistdaily.com
CONTENTS
4
6 8
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
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.
28
This English artist uses the humble pencil to create works of vast scale. dramatic power, and psychological depth.
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.
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
Los Angeles artist Ira Korman makes powerful portraits using charcoal and stump.
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.
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
Courtney Jordan
CONSULnNG
EDITOR
M. Stephen Doherty
CONTRIBUnNG
J, Procter
Dan Chene
PUBLISHER
David Pyle
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Jim Mcintosh
M WI"
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Brown.
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