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    DRAWING FUNDAMENTALS: SHADING RENAISSANCE-STYLE SKETCHBOOKS JRAWINGS THE QUILL PEN: Draw with a Tool of the Masters ! 1 } MaKe UUIC! wad Cts \ Untitled (detail) by Mark Temant AMERICAN artistdaily.com 28, 34 4 WINTER 2010 Editor's Note Contributors ‘Sketchbook New & Notable Where to Study Drawing: A Sponsored Guide to Some of the Best Educational Programs ‘Add and Subtract Charcoal for Painterly Drawings BY. STEPHEN OONERTY 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, Drawing Fundamentals: Modeling Gradations fr sow orien By modeling gradated values on shapes such as cylinders, artists can draw realistic forms that turn in space. ‘The Quill Pen: How to Draw With the Tool of the Masters BJORN Pa Both Old Masters and contemporary artists have taken advantage of the wonderfully sensitive ‘marks made by this classic drawing implement. Beauty, Balance, & Accuracy fr AUSTIN, LAS ‘Mark Tennant’s drawings evidence both rigorous academic standards and sensitivity to the nuances ofthe figure. 82 58 8 88 96 Untitied (detail) by Mark Tenant, 2003, charcoal, 24x18. Cotecton the ast. A Colored Pencil Artist Emerges AUSTIN LLNS Holly Bedrosian has found success with self portraits and drawings of hands that embrace, rather than hide, imperfections, Making Quick Progress With a Confident Hand 808 ae Although Jean Marcellino’s success in drawing and painting ‘seems quickly attained, it owes much to achievements in her life and in her previous career. Learning From the Sketchbooks of a Modern-Day Leonardo ‘ALISON ALAFFONTE Michael Mentler has filled dozens of sketchbooks with detailed drawings of the human form as a way to continually grow and develop as a drafisman. Here the artist shares a sampling of those sketches, as well as insightful notes on his process. Interior Views ‘BY KENNETH 4. PROCTER Artists can use interior spaces to represent everything from a narrative of historical decline to intimate scenes of private life. Agnolo Bronzino: The Drawings of an Italian Master A new exhibition provides fresh insights into the work of a great master of Florentine Mannerisrn, Coming in... EDITOR’S NOTE 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-and: answer 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 ofa print magazine, an artist can Jearn 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 knowl: ‘edge in a way that is specifica Iy tailored to their art and expe- riences, Jon deMartin’s series ‘on the fandamentals of draw- ing covers key techniques, and in this issue he teaches how to ‘model values on a cylinder (page 28). Through informative demonstrations, Jen Hagen and Jean Marcellino teach us how they draw the figure in charcoal and graphite, respec- tively (pages 20 and 58). If you Jearn best through trial and ‘error, be sure to look at John Parks’ article about the quill pen. Parks was intrigued by the classic drawing instru- ment, and he relates his expe- riences with it, including trial and error advice essential to any artist looking to experi- ment with the quill (page 34) Much can be learned by studying the artwork and processes of contemporary and historical mas- ters. Marks 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 of interior spaces (page 78).. hil? Willie” AUSTIN R, WILLIAMS, Associate Editor ‘mail@artistdaily.com SAVE THE DATE FOR WEEKEND WITH THE MASTERS 2010 Plans are being finalized for the 2010 Weekend With the Masters event at the Laguna Cifs Resort & Spa, in Dana Point, California, and at the nearby Laguna College of Art + Design. This rare opportunity to learn from top artists wil be even bigger and more popular than the phenomenal 2009 program held in Colorado Springs. Make sure you are part of the historic event by saving the dates of September 23-26, 2010 and registering in rmidpri. The final raster, registra- tion details, and program informa- tion will soon be available at www.weekendwitithemasters.com, 4 DRAWING AMERICAN ARTIST : Drawing. VOLUME 7 * ISSUE 24 PERS ay soir So eae SET ‘eget sane Deacon nro epetnirwc ENE st nen cages sausage tania mone nnicn STE, Nancy NU Palak Naney Ama (866) 9773888 (U5) - 760) 317296 (ouside US Drawing pespublinkcom MA sata” Me INTIS r ) eT ARTISTDAILY.COM Dra Lees rite LP | Edges to Improve Your Compositions HOW TO WT LB) ORT TT ~ = — Drawin tres: ee - The Figure in Action _ eee »* <— CONTENTS 4 Editor's Note 7 Contributors 8 Sketchbook 18 Where to Study Drawing: A Sponsored Guide to Some of the Best Educational Programs 22. How to Draw the Arm With Strength and Conviction syoan nena By strategically employing line and value and utilizing anatomical knowledge, artists can draw arms that enhance the realism of the figure. 938 Drawing Fundamentals ‘The Figure in Action: The Inner Axis and Surface Centerlines JON DeMARTN By finding 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. 46 82 62 20 80 88 96 Seli-Portrait ‘With Hermes (detail) by Kate Sanmns, 2008, charcoal 26.52, Colecion ‘hearts, Focusing on the Edge BY TMOTH W JANN AND ANTHONY WAICHULIS This step-by-step demonstration explores strategies for improving your use of edges, one of an artist's most versatile tools. In the Light of Darkness Night scenes present drafismen with intriguing challenges. Historical and contemporary artists have ‘employed numerous techniques—including contrast, mystery, and ambiguity—to depict many incarnations of nighttime. Using Materials That Reflect Your Subject Matter For her drawings exploring industrial neglect and decay, Stacy Seller uses materials such as charcoal and rusted iron, which are closely connected to the world she depicts Using the Figure to Pose Major Questions 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. Drawing With Wire (and Sugar, and Porcelain, and Photographs...) By 808 8aHn 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, Dramatic Shadows & Subtle Meanings BY AUSTIN, LIANS ‘The charcoal drawings of Kate Sammons boast striking highlights and deep shadows, as well as quict, multilayered meanings. Coming in... 62 EDITOR'S NOTE CONTINUING LEGACIES OF ARTISTIC INSTRUCTION {In many studios and schools across the country, veteran artists dedicate time to teaching. Whether 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. his issue's cover basks in the deep shadows of Kate Sammons’ stunning ‘Sef Portrait With Hermes, a drawing that plays with notions of viewer, subject, and. illusion (page 88). Sammons cites her studies with trompe-oeil painter Anthony Waichulis as particulary influential in her development as an artist. though her drawings do not greatly resemble the work of her former instructor, one can see some shared thematic interests—issues of perception and realty lie at the core of the trompe-toeil style, just as they are key to Sammons drawing, Ithappens that Waichulis is the co-writer of an article in this issue. He and ‘Timothy W. Jahn, another of his former students, explain how edges can im- pact the development of a drawing—a subject any aspiring draftsman should study carefully (page 46). Elsewhere in this issue you'l find the graphite drawings of Noah Buchanan {page 70), who studied with several prominent artists, including Steven Assael, ‘Martha Erlebacher, and Frank Galuseka, Another of Buchanan's former teachers happens to be Jon deMartin, a contributing editor of this magazine and the author of our Drawing Fundamentals series. In this issue, deMartin examines how draw- inga 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 convergences 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. I's only a matter of time before we feature an artist who happily surprises us by championing their influence, and in doing so continues a long, unbroken line AUSTIN R. WILLIAMS Associate Editor ‘mail @ArtistDaily.com 4 pRaWiNe Bian Ry Allison Malutoate Soon Ep 646) Sar oos0 {Couey Jordan Bob Bahr « Lynne Bahr an Gheno fon deMarin John A Parkes Kennet Poser sists Dawid Pye Hien cos Mary Melane (970) 299-6065 Surinne Meyer (7) 650109 eles Brown = Tin Roi fi Ra ‘Shei Bering Ghiean amphi Nancy Nall. Nin Am (866) o97 88 (US) « 60) 317-2316 uside US) Drawingpespublnk com > INTERWEAVE. © im DRAWINGS EFFECTIVELY The tel ayy Between Old Masters Pa aa UNDERSTANDING AMM Los pe tt cy Oe ae Accuracy Pomerat end D e SPRING 2010 artistdaily.com e CONTENTS 4. Editor's Note 7 Contributors 8 Sketchbook 14 New & Notable 20. The Ryder Studio School: Drawing on Light & Form ‘ALISON ALAFRONTE Artists who want to learn Anthony Ryder's four. step 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 soon nena 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 KENNET PROCTER Historical and contemporary artists have endowed all manner of natural, manmade, and imagined objects with expressive power and layers of meaning. 88 66 8 86 96 Iatine (aetatt) by fothony Ryder, 2007, graphite ad pastel on tated Bape, 14x 10. Colton heats Drawing Fundamentals: Shading the Sphere by JON DEMUARTIN 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 Rivals in Rome The 16%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, Real World Anatomy: Andrew Gerndt at the School of Visual Arts Master instructor Andrew Gerndt teaches his beginner students to create drawings of extraordinary quality Degrees of Interpreting Reference Material ana 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.” Coming in... EDITOR’S NOTE 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 drafismen 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 of a 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 ofthe blank sheet. For Gheno, drawing the human body begins (and ends) with the complex, interlocking forms of the torso, also called the core _figure (page 32). Anthony Ryder, in contrast, doesn’t begin with a specific part of the bod. Instead, he begins by drawing what he calls the Envelope—a large polygon tailored to the mode!’s pose that encompasses the finished figure. Ryder offers Drawing readers a demonstration of his four;phase drawing tech- nique (page 20), and artists have the opportunity to learn more from him tis September when he teaches at American Artists Weekend With the Masters. Andrew Gernat, 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 16"-century Rome, Ephraim Rubenstein shows that in some ways many historical artists were little different than the artists and teachers of today—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—along with other historical circum- stances—many of their figure drawings differ greatly from one another in style and sensibility (page 66). Zed ltd AUSTIN R. WILLIAMS Associate Editor ‘mail @ ArtistDaily.com 4 pRaWiNe MERICAN PV ies Michael Gonmey Bram Riley Alison Malafronte ASSOCIATE EDITORS Rinnai 9 0059 ona: Pan sense fra ae Baw Pe ee ros, Sincticeaesbatrwce ETE cate Sees samen SSE, crear cm (866) 9173858 (US) = G60) 3-336 (ouside US) Drawingpespublnkcom &S EB tan me SUMMER 2010 ARTISTDAILY.COM Special Section: 10 COVER COMPETITION WINNERS SHARE THEIR DRAWING STRATEGIES Complex Forms Made a simple / . THE ART OF ILLUSTRATION emer my ALTERNATIVE DRAWING MATERIALS EXPRESSIVE CHARCOAL PORTRAITS artistdaily.com CONTERIS Editor's Note Contributors Sketchbook New & Notable Choosing the Right Drawing Paper ‘The many differences between drawing papers can be so subtle that 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. 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 10 artists stood out from the rest with their skill and commitment, employing any tool or technique that would best capture their subject. 86 46 56 60 2 80 86 96 Wet Hair (detail, reversed) by Jonatian J Abn, 208 charcoal, 24 18. Cotecton the ais Drawing Fundamentals: Drawing Tapering and Flaring Forms ‘By JON OEMARTIN 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. ‘The Body Speaks: The Charcoal Drawings of Julian Farrar JOH A. PARAS ‘This English artist uses the humble pencil to create works of vast scale, dramatic power, and psychological depth, Searching for Drawing Materials Used by the Italian Masters {y14 STEDHENoOHERTY Matthew J. Collins—an instructor at Charles H. Cecil studios in Florence—has been conducting research into

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