UCTS ALU ata Oa UOMO OL Uae ae TOL 00] SRO AHEAD _ inperspective TATU Lifelike Portraits FLA Mat Graphite, Charcoal & Colored ies ike; = bc Naa a ea UTAH A Saude BE TAE NULL Y4 ta eeaiceay patel ryaa acd layer Aloe peeps pie les ORT Onc Ter eee ae Discover fresh hew ways to create beautiful paintings with must-know acrylic and PEO ey for extreme durability On eng precisely centered cores mixed-media techniques Mix and match styles as you discover your own unique creations. Stee eee tty ee rit cos SOc selon cy Expand your painting repertoire with Acrylic Solutions! chris cozan 2 julie prichard Order Now at NorthLightShop.com keywords Acrylic Solutions!DEPARTMENTS © corron’snore 9 CONTRIBUTORS 10. SKETCHBOOK 96 NEW ANO NOTABLE ON THE COVER 26 84 Demonstration: Lifelike Portraits Winners of the Shades of Gray Competition. 46 Drawing Your Home and 32, 40, 46 Neighborhood ‘Three Approaches to Contemporary Landscapes 58 Drawing Materials 101 COVER IMAGE 66 ‘Morgan (detail) How to Draw a Head in Perspective 2 Drawing / Spring 2013 ‘Hcomawguacazie cow STAEDTLER art products... preferred by artists all over the world. Cease) ® STAEDTLER’ Matus ett wonwstaedtlerca ‘email info@staedtlercaCONTENTS FEATURES 22 A sponsored guide to drawing materials, 26 By SDOTT WRODELL When creati portrait drav ing, Scott Waddell pays constant attention to how light hits the changing surfaces of the model's forms. In this demonstration the artist, an instructor at the Grand Central Academy of Art, explains the steps he takes to truthfully depict that relationship and bring his drawing to a satisfactory conelusion, BYAUSTINA WILLIAMS The Gonté drawings and water color paintings of Matthew Daub depict real places, but the artist ‘manipulates these scenes in any ‘way necessary to communicate his emotional experience of the landscape. 4 Drawing / Spring 2013, 40 46 DYKENNETH J. PROCTER Marvin Saltzman paints in his North Carolina studio, but for inspiration, he travels—and draws—all around the worl. BY JN A, PARKS ‘This Maryland artist uses his bome and neighborhood as the starting point for deeply personal draw- ings, journals, and prints, 66 BY LAUREN KIRCHNER Our survey course spells out the essential facts about graphite charcoal, and colored pencil 15 JON DEMARIO Foreshortening is challenging, but by paying attention to the basic shapes that underlie complex forms, you can learn to believably represent these subjects as they tovist and turn in space. [AUSTIN WILLIAMS Joseph Crone, the winner of Drawing’s Shades of Gray Compe- tition, uses black colored pencil to create cinematic drawings infused with mystery, madness, Winners of Drawing’s 2012 competition TcomwINewnsnzie cou CxeTO. Us) ron Pee NEW ~ LARGE FORMAT EXTRA SOFT FINE ART CHARCOAL =) Nitram is the Preferred Charcoal of Professional Artists, Academies & Ateliers.From Hillsides to Hallways tiple a to the same subject. This issue of Drawing pres ents three artists who produce wildly different, though ‘equally compelling, treatments of the landscape. Matthew Dan's drawings and paintings present a recog nizable rural America. But upon close examination, it becomes clear that what we are seeing has been filtered through the artists emotions and memories (page 3). Marvin Saltzman’s dravcings emerge from a Modernist tradition that emphasizes the bold geometry of the landscape and provides him an engaging means of bringing out the shape and texture of the natural world (page 4o). Finally, Charles Ritehie prese 4 more narrowly focused outlooks His drawings depict the interior landscapes of his own home, a5 well as views of the suburban streets and houses that surround it. These works not only depict a place but alo testify tothe artist’ rich and reflec tie imagination (page 45) However you choose to draw your surroundings, youll ‘want to find the right materials and master them through ex tended practice. To this end, we offer Drawing Materials 101 28a brief introduction to some ofthe most common drawing media (page 58), along with a special advertising section sug, gesting some specific products worthy of your consideration (page 22). Finally, we ar tried to unveil the winners of our Shades of Gray Competition. The Grand Prize winner is Joseph Crone, who uses a single colored pencil to crete cinematic ra that contain intriguing narratives and a wealth of texture and detail (page 78). The other winning drawings —a wonderfully eclectic collection—can be found on page 84. And den’ forget that the 2033 competition wil soon be underway. For details on how tenter and see your work in these pages. see pase 93 1 hope you enjoy springtime and the opportunities it presents to venture out and capture your own vision of the landscape, whatever it may look like Liew? Wl Lhe” 7 AUSTIN A, WILLIAMS Associate Editor Drawingafwmedia.com ne rewarding way to look at art is to consider mul: tists who take radically different approaches 6 Drawing / Spring 2013 Drawing: VOLUME 10 + Issue 37 ‘Any Fett Te Seti grace rminclaseiDartcuaibecom, nabbrlteer sso geto et sas Dachau com ‘helss Ford Diane Edmundson INTERWEAVE ‘YOUNDER, CREATIVE DIRECTOR Linds Ligon Tomes Ber I {VICE PRESIDENT, MEDIA SALES Jule MacDonald DIRECTOR OF PRODUCTION Tris Fisbin ooics nmarontat.ninncrOR Allon Kose Lwimedia coo nore james anon Sos Dowie ume pcras orricen Chad Pep vie pues, ounce aa ber ‘TheDrawingMaguzinccom » fomediacom HComNN Newasnz0 COM THE & GREAT Y Courses undamentals of Photography Learn the Inside Secrets of Professional Photographers Photographs can preserve cherished memories, reveal the beauty of life, and even change the world. Yet most of us point and shoot without really being aware of what we're secing or how we could take our photo from good to great. Just imagine the images you could create if you trained yourself to “see” as the professionals do. With Fundamentals of Photography, you'll carn everything you need to know about the art of taking unforgettable pictures straight from Geographic conteibuting photographer Jocl Sartore—a professional with over 30 years of experience. Whatever your skill evel, these 24 engaging lectures allow you to hone your photographer's eye take full advantage of your camera’ features, and capture magical lational ‘moments in any situation or setting imaginable. Offer expires 07/13/13 1-800-832-2412 WWW.THEGREATCOURSES.COM/4DRWM Fundamentals of Photog: corey Cay r Bini! Peter Pena OMe eT) Cee eat Composition Ill—Framing on eee cect isd ees ey ee ee eee La Let's Go ara) cei meet eee eet hc ree at err ees eat Se conus The Phot Te arr Ey AE a) DVD $254:95 NOW $69.95 ereSee Your Work Through New Eyes With over 2300 images in all, these 5 reference guides are perfect for sketching, reference, or as a subject for your latest piece! You'll find a world of imagery inside these convenient downloads. as ms TE ae Photo Reference’ Hy aoc TR AT AEN cas) Oe : Lima DU Med ae Flower Pictures CONTRIBUTORS undementals: Intreduction to Foreshortening—The Head") is a New York City artist whose work can be found in many private collections. He teaches life drawing at Studio Incamminat, in Phila delphia, and at Parsons The New School For Design and and Central ny of Art, both in New York y. DeMartin is @ contributing artist at Hirschl & Adler Madern, in New York City, ang John Pence Gallery in San Francisco. View his work at www.jondemartin.net UAUREW KIREHNER (° Drawing Materials 1017) is graduate of the Columbia University School of Journalism, in New York City. Her work can be found in many print and online publications, including Wired, The L Magazine, and The Aw For more information, vist wry jaurenbkirchner.comn, SOHN ASPARKS ¢-Cinosles Ritchie: Reflections") is an artist who is represented by 532 Gallery Thomas Jaec York City. He is also. teacher at the School of Vi ats, in New York City, and isa frequent contributor to Drawing WENNETH J: PROCTER ¢° Drawn From Nature") is the dean of the College of Arts and Sciences at Georgia College and State University, in Milledgeville He is known for his powdered charcoal drawin and is represented by Alan Avery Art Compa Atlanta. His work is in museum, corporate, and numerous private collections. He can be contacted at ken.procter@gcsu.edu, SCOTT WADDELL ¢*Demonstration: Modeling Through Form and Light”) received 2 B.F.A. from Florida State University, in Tallahassee, prior to studying classi cal painting under Jacob Collins. He currently divides his time between painting and teaching at the Grand Central Academy of Art, in New York City, For more information, visit www scattwaddellfinearts.cam. AUSTIN,R, WILLIAMS (-The View From Here” and ‘Colored Pencil Noir) s the associate editor of Drawing h 3g to toon used by an Sa lamer er omer Pd ext nore atomic eT CIDA eae ‘When you look through the LUCID-Avr’s view hole ic uses optical mirrors to creat a transparent ‘ghost image of the scene in font of you reflected dowm onto your canvas or paper. Now an afttor art enthusiast can easly draw over the reflected image to get correct perspective, foreshortening, proportion, poston, overlap, shape. Leaving you more time to develop your art the way you want it without being frustrated by the technical elements ‘The LUCID-Art has two optional accessories: The Photo Projector, which allows you to enlarge photos, pictures or smal objects using your LUCID-Art up to a4x magnification. Thats blowing up a4in x éin photo to in x 24int (10.20m x 15.2cm to 40.7cm x stem). And the LUCID-Art Drawing Board, which tums your standard camera tripod into an easel and has a special connecting poine that is designed to attach to your LUCID-Art a Save an Exira $10 by Using Coupon Code “drawio” During Checkout "ep Watch Our Video and Buy at www.GetLUCID-Art.com —" oul Or Order Over the Phone 1-888-9LUCIDA (1-888-958-2432) Download instantly at * NorthLightShop.com, keyword: photo referenceFine Lines AMERICAN DRAWINGS THROUGH MAY 26, 2013 ‘The Brooklyn Museum Brookiyn, New York (718) 638-5000 wwwbrooklynmuseum.org ‘A major new exhibition, “Fine Lines: American Drawings From the Brooklyn Museum,” presents a selection of more than 100 drawings and sketchbooks produced between 1768 and 2945, all taken from the museums collection. The roughly 7o artists featured include many of the greatest luminaries from two centuries of American art Singleton Copley, Thomas Fakins, Winslow Homer, John Singer Sargent, Edward Hopper, and Georgia O'Keeffe, among oth- Mate Nude crs, are represented, ay cava poe ‘The exhibition pays” ea 10-1804 special attention to coreg artists’ sketchbooks, poner 2039 ‘many of which have Aaah been photographed "3/aihmnuscam page by page, with Newer the photographs printed and installed on the gallery walls. These sketch- book facsimiles allow an almost incomparable view into the obser- vational and imaginative processes of the artists, and the sketches impress with their vast ranges of styles and degrees of finish. 10. Drawing / Spring 2013 "meORAMING MACAW COM The exhibition is divided into six main sections. The first of these is “Recording Anatomy," which explores artists’ inter: est in the human body. Among, the drawings in this portion of the exhibition is Edward Hoppers Male Nude, completed carly in the artist’s career when Hopper was studying in Robert Henri’ life class at the New York School of Art. The exhibi- tion's second section is titled “Fashioning Character.” It includes works that depict the ody clothed, often in prepara tion for a painting or sculpture The following section, “Portraying Personalities,” looks at portraiture, arguably the oldest established genre of American art. standout work in this gallery is Minerva Josephine Chapman's ‘Woman in Profile by Minera Jacephine Chapmn, freon neva nid "WeonaMiNGMAchzin com Drawing / Spring 2013.11 ) =a DrawingTutorialsOnline Free DVD Teaches You How To Draw Fabric. Sign Up Now! Visit Drawing-Tutorials-Online.com To Learn More STUDIO ESCALIER Contemporary Classical Art Programs Autumn Intensive December in Paris Angst 29 Otber12 December = Decors Autumn at the Louvre Winter at the Louvre (OctboraoNovember9—— Jamuary12~ March 14,2014 Apply Online Now! epwwwstutioescalicrcomWoman in Profile, a stunningly delicate tonal charcoal portrait of a woman seen from behind, with her head partially turned. Chapman was one ofa growing number of professional female American artists in the late 19" century, when col: leges and universities—along with other educational and professional ‘opportunities—were becoming increasingly open to women, ‘The exhibition includes a delightful section named “Telling Tales,” comprising narrative draw. ings, many of them illustrations 12 Drawing / Spring 2013, for stories printed in magazines. Some, such as William Glackens’ Merry Christmas (not pictured), overflow with detail, energy, and numerous characters and storylines that together form a boisterous panorama. Others, such as Thomas Eakins’ Thar’s Such a Thing... an illustration for Scribner’s Monthly, presents a more somber narrative. In this drawing Eakins, a master porteayer of human gesture and action, expressively uses the body language of his figures to convey a sense of anguish and exhaustion. “Thae's Such a Thing as Callsin This World” white nighights on ove pape, 10 eT itratonto:Rcharé Johnston “h Neel ‘The final two sections of the exhibition focus on the natural and ‘manmade landscape. “Exploring Nature" contains traditional land. scapes ranging fiom sketches created with 2 single Flowing line to lush, finely rendered pastel scenes. “Observing the Built Eavizonment consists of views of cities, buildings ships, and zailzoads—artistic subjects ‘Heomawguacazie cow that became increasingly prominent around the dawn of the 20” century. Reginald Marsh was one art- ist who took up the challenge of _ portraying the crowded, chaotic, changing life of America’s urban 3 areas. Many of his paintings, prints, i and drawings featured the grittier side of New York City—crowded beaches at Coney Island, homeless life on the Bowery, and bustling burlesque revues. His 1931 draw. ing Wall Street uses a system of hatches to present the city seem ingly rising story by story out of the rivers that surround it. An extensive illustrated catalogue of the exhibition is available, fea turing several essays and detailed descriptions of individual drawings. FOR MORE INFORMATION. VISIT THE ‘BROOKLYN MUSEUM'S WEBSITE, wal $Me t951 trom nk wth = rang on asm COMI Race UmET IE with Anthony Ryder ‘A Complete Video Course* on Anthony Ryder’s Personal techniques for Pea Ceres) [Perna eM ree er eee Ue eee eee VCs ‘Tools of the Trade: What you'll need on basic drawing t Special Introductory Price & FREE Shipping laa al drawingtheportrait. com “! by Federico Castelluccio 1Cinema Dell’Arte LLCIA Cinema Dell Arte LLC Production TT AAC mstExtreme Drawing This spring and summer, the Aldrich Museum, in Connecticut, shines a spotlight on numerous shades of contemporary drawing, especially those of the abstract and experimen. tal varieties. “Extreme Drawing” is 2 series of exhibitions and related programming that presents an array ‘of approaches taken by contemporary artists who push the boundaries of <écawing, including artists whose prac tices address issues of scale, material, gesture, and individual circumstance One highlight from this large slate isthe exhibition “Ballpoint Pen Drawing Since 1950." The origins ‘of the balipoint pen go back to the late 19 century, but it was only after World War Il that the technology was perfected and the now-ubiquitous THROUGH AUGUST 25, 2013 ‘The Aldrich Contemporary Art Museums Ridgefield. Connecticut (203) 438-4519 wuwaldrichartorg BL-A20 by La, 200, blind 14. Drawing / Spring 2013 ‘Wateh the Dolphins Play ‘less sphere, Courtesy the artist and (CRG Gatley Ne York. New Ye many way’ the pencil of our era. The past 30 years has scen the ballpoint taken up by an uncategorizable range of artists, with the results spanning the abject to the sublime.” Among the artists featured in “Ballpoint Pen Drawing’ are Rita Ackermann, Alighiero Boetti, Alberto Giacometti and Dawn Clements, who appeared in this magazine last year as part of our issue covering contemporary artists pushing the limits of drawing, Among the other offerings in the Aldrich’s program are the solo exhibition “Amelie Chabannes: Double Portraits and a Fourth Hand,” contain: ing two large site-specific drawings by the artist; and the two-person show “Creative Growth: Dan Miller and Judith Scott,” featuring a diverse set of works by the California-based artists, Also featured is “The Capitol Project,” a series of drawings of the US Capitol Building by Robert Longo. Alongside these exhibitions, throughout April and May, the Aldrich is holding “Extreme Draw On," a series of drawing workshops and activities, including several events intended for families. FOR MORE INFORMATION, VisiT THE MUSEUM'S WEBSITE writing tool achieved widespread ‘commercial success. With the rise of antiarl movements such as Fluxus in the 1950s, a number of notable artists made drawings using the instrument The last two decades have witnessed a resurgence in artists drawing with, ballpoint. In a catalogue essay, exhibi tion director Richard Klein explains, For individuals born after the begin: ring of the 19508, the ballpoint has been like the ocean to fish; a reality that is ever present and practically invisible... For many artists, this stale of affairs has created a situation where the ballpoint has become the Vernacular go-to tool that can be coaxed ‘out ofits supposedly limited nature to perform a seemingly unlimited range of aesthetic les, becoming in ‘Hcomawguacazie cow ne ta eget Cte eter eee ed Se eet See er Ce ee tee mee er eet al eenWinners Announced IN COLORED PENCIL COMPETITION ‘The Colored Pencil Society of America {CPSA) recently presented its ninth annual Explore This online exhibi. tion, the result ofa juried competition of mixed media artwork combining colored pencil and other materials, ‘The organization received hundreds of entries, out of which 53 were selected to appear in the exhibition, which can be seen on CPSA's website, www.cpsa.org, Thirteen ofthe selected images ‘were chosen as award winners, with the bestofshow award going to Washington artist Eileen Sorg for her drawing Foiled Again. The second- place winner was Deborah Friedman, ‘of Wellesley, Massachusetts, for her piece Spirit Stones. The exhibition ‘was juried by Mana Hewitt, the 16 Drawing / Spring 2013 director for McMaster Gallery, at the University of South Carolina, “In selecting the award win. ners [found that Foiled Again, by Eileen Sorg, was exceptional in process and content,” Hewitt says “org skillfully pushed beyond the expected to create a wonderful visual pun. Spirit Stones, by Deborah Friedman, manipulated transpar ‘ency, light, and reflection with ‘exceptional skill and good humor. Could those rocks be smiling?" CPSA holds two exhibitions annually: Explore This and the CPSA International Exhibition, which features works created exclusively in colored pencil, as opposed to Explore ‘This’ focus on mixed media work FOR MORE INFORMATION ON CURRENT AND FUTURE CPSA EXHIBITIONS, VistT WWH.CPSA.ORG.. ‘Hcomawguacazie cow Felled Again 2x2 mage cour teey Colored Perc Sodely of merc, Stones by Osborah Fegan Colores pene end roonte ex Coles Peet Sacet stanatce VISIT DRAWING'S NEW WEBSITE: THEDRAWINGMAGAZINE.COM ‘acomaw ngnasazie com Drawing /Spring 2013 17 QFIAVU. The oniyhorhtd wing gd wth on igre ‘ie lel denned for arts A unig ference Som moles ea o 08 Proportons, shape dteckons18 Drawing / Spring 2013, Madonna col Bambino by Micalanselo Buonatrot ea. 1525, ‘occa, ed chalk, Ieseunte, dunes Casa Boose fot iny 7 Et byte Met hr The College sam Marys moro Courtesy Museum of Fire res Boston ‘Hcomawguacazie cow THROUGH JUNE 30, 2013 ‘Museum of Fine Aris, Boston Boston, Massachusetts (617) 267-9300 wwwmfa.ora ‘American museumgoess currently have the opportunity to witness a renowned collection of drawings ‘The selected works are divided between figure and architectural studies. Together they illustrate how, throughout his career, Michelangelo alternated between interpretations of the divine and the worldly or profane. Michelangelo's powers to evoke the sacred are fully displayed in his large drawing Madonna col Bambino (‘Virgin and Child”). One of his most admired images, the drawing depicts by Renaissance master nonpareil moment of both tenderness and Michelangelo Buonarroti (1475-1564) uncertainty. Its in the exhibition “Michelangelo: created primar study forthe Sacred and Profane, Master Drawings ily with fresh, ortaPia in Rome from the Casa Buonarroti," onview sketchy black chalk, isvelenelo in Boston through the end of June. lines, but part of Duccehath pen ‘The exhibition features arich and the infant Christ anit, brown varied selection of 26 drawings from is rendered in soiesosne the master’s collection, preserved beautifully modu. Florence Caa3u- by his descendants in the family lated tones created esi 2A home, Casa Buonarroti, in Florence, with red chalk of fine ts Boron AIL sponsored by SouthwestArt your artwork spotlighted in Sourhisest Art and win $2000! Enter your best work in our competition and show us your First Place: $2000. Second Place: $1000 Third Place: $500 10 Honorable Mentions: $100 gift certificate to North Light Shop “The 1 winning ato wil e publ in the December 2013 aus of Settee drt one sky winners work wil he chonen fr that irc’ cover art Thea All winners wil eee certs male For fering DEADLINE: JUNE 17, 2013 pce centneee er te ee eee ene eeepata wag ante ‘ts Bosto ‘and white paint, which show to full effect Michelangelo's celebrated ability to depict sculptural form ona two-dimensional surface. A worldlier image is Michelangelo's imaginary portrait of Cleopatra, a black-chalk presentation drawing hhe made as a gift for his friend Tommaso de’ Cavalieri. It is widely considered to be one of the art {st’s most poetic conceptions. Although he achieved his greatest renown as a sculptor and painter, Michelangelo's legacy as an architect is no less monumental. The Casa Buonarroti holds an extensive col lection of the master’s architectural drawings, from which a selection of highlights has been chosen for this exhibition, including plans for churches and military fortifications. Some of these feature fantastic draw. ings of walls and portals equipped A Beginner’s Course on Drawing Nature drawing nature torte aDSOlute beginner Through easy-to-follow techniques, tips and step-by-step demonstrations, Mark and Mary Willenbrink provide guidance and encouragement for drawing nature, Lear about materials, beasic techniques and how to draw a varity of nature scenes with simple compositions and a reaistic styl. Exercises and mini domos on drawing technique give a strong foundation + 12 easy-to-follow step-by-step demonstrations (plus two bonus demos online) help you complete finished portraits This and many more North Light products are available at your favorite art & craft retaller or bookstore. They ‘can alzo be found online at northlightshop.com, or call 1-800-258-0929 to order. AntisisNetwork an impin of F+W Medi, te with pincers and shell like giant crabs. The important ecclesiastical exhibition include several plans too rotico 1559-1960. blac ambitious and costly to be realized, chal peandnk te such as the facade of the church dle aut of San Lorenzo, in Florence tone ita Organaed ‘The exhibition is organized in col asomat tt The Jaboration with the Casa Buonarroti Colgeo alam and the Muscarelle Museum of Ant, in Williamsburg, Viepinia, Plan for the Church ‘of San Giovanni del Courtesy Museumof Fine rts, Bostr zz CORRECTION Arecent article contained an inaccurate description of techniques sed by Pat Averil for her colored pencil drawings (’Work With Whatever Works,” by Naomi Ekperigin, winter 2013). The following is a corrected description of two of the artist's methods, In one method, Averill creates a color swatch usinggheavy pressure ‘on scratch paper. She rubs over the sivatch with a used dryer sheet or rag, then rubs the dryer sheet on her paper in circles, gently at first and then harder, to create even color. Another method the artist usas isto rub pencil color over a smal square of rough sandpaper, tap it over her paper evenly, then rub it With a dryer sheet or rag intoa smooth tint “comawmguasazie cow Drawing / Spring 2013 21 Ape Poa en Gesture Portraits II by Jeffrey R. Watts 6.5 Hours $95 Watts Atelier Experience the Difference! 2013 Term Dates Winter Jan 7-Mar 17 Spring Apr 8-June 16 Summer July 8-Sept 15 Fall Oct 7-Dec 15 Watts Atelier Online Launching Summer 2013 www.WattsAtelier.com ‘Watts Atelier ofthe Arts, le 171 Calle Magdalena Ste. 103, Encinitas, CA 92024 760.7845378 telSPECIAL ADVERTISING SECTION Buildin Materials Although drawing frequently serves as a foundational art, used in preparation for elaborate works in other media, the materials employed to create drawings can be refreshingly si graphite, maybe a colored pencil, and a piece of paper. which specific instruments and surfaces to use is not always so simpl there exists a wide a variety of manufacturers creating a multitude of valuable products, each of which is particularly well sulted to the hands of certain artists. In this sponsored guide, we offer a collection of drawing materials x and old from some of the best manufacturers out there. Try them out and a piece of ch ne atch your portfolio graw Bsquisse eae, beer awn DIBUIO Exra nuance Eira wine sxreestaneo vurst ‘versysano 22 Drawing / Spring 2018 ‘Hcomawguacazie cow ‘acomAw ncnasazi com SPECIAL ADVERTISING SECTION . << Blick Studio Artists’ Colored Pencils Professional quality at an af- fordable Blick price! "I was tired of the leads breaking and the cores popping out of my other viax-based pencils,” says artist Rich Berry (wwwichberryart com). "So | purchased a set of 72 Blick Studio Artists’ Colored Pencils, some individual colars, and the fantastic set of 12 grays. The colors lay down very nicely without any wax bloom, lam sold on these pencils, and I'm not even talking about the low price!" For more information, visit wwwedickblick.com, < New Arches® Drawing, Sketch Pads The 100% cotton com- position enhances dura: bility and gives a unique ‘and beautiful appearance that is soft to the touch. a ‘Tess Pas ver eee Mars® Lumograph® Sketch Pencils tionally well with pencil ppen-and-ink, charcoal, Staedtler pencils have super-bonded lead and a special and pastel. Erasable and lead formulation, making them unbelievably break: smudge resistant, this, resistant, Premium-quality wood is PEFC-certified from beautiful paper is acid sustainably managed forests. Sixteen hard and soft {ree and has no optical degrees are sold in metal tins and sketch-set assortments. ‘Manufactured in Germany, these pencils also have excel- lent reproduction results. Visit wuw.staedtler.ca to see the full ling of Staedtler artist supplies. www.cansonstudio.com, Drawing /Spring 2018 28SPECIAL ADVERTISING SECTION Extra large and extra soft, Nit ram Charcoal is ideal for artists doing figure work, large mural outlines, and even big sets for theatre and film. Nitram is, unique—it does nat crumble, fragment, or disintegrate like other charcoals. Its available in 6mm, 8mm, 12mm, 25mm, 40mm, and bloc sizes. ive into ever 500 images of the animal kingdom's wildest animals. Perfect for sketching, reference, or as a subject for your latest piece, Primo® Euro Blend™ Charcoal Pencils are made in small batches you'll find a world of imagery inside this convenient download. with rich, deep blacks to achieve intense dark tones. Primo" is a ‘creamy, premium charcoal-drawing formula that can be used alone cer in combination with other media, including charcoal, graphite, pastel, or mixed media, Made in the United States using the high- est-quality sustained-yield cedar to ensure smooth sharpening and strength, Back by popular demand, Bruynzee! Design pencils are now available in {ull colored penci, watercolor, and sraphite ranges. Ths highly lightfast range is crafted with light cedar casings fram responsibly managed forests, Wide-gauge cores are glued all the way through the casing and perfectly centered, which means no more cores breaking and falling out of your pencil Download the Photo Reference for Artists: Wildlife ot NorthLightShop.com, keyword: photo reference 24 Drawing / Spring 2018 TacomwINewnsnzie couModeling Through Form and Light When creating a portrait drawing, Scott Waddell pays constant attention to how light hits the changing surfaces of the model's forms. In this demonstration, the artist, an instructor at the Grand Central Academy of Art, explains the steps he takes to truthfully depict that relationship and bring his drawing to a satisfactory conclusion BY SCOTT WADDELL 26 Drawing / Spring 2018 ‘Heomawguacazie cow Step 2 | next break down the large shapes into smaller shapes, which still consist of tits that can ta one another. try to achieve a ike jelween each shape in my drawing and its corresponding shape on the model. | routinely recheck the halfway-point that | measured earlier, and | make some additional compara~ tive measurements to confirm the placement of different marks. These might include compar- ing the width of the face toits height, measur= ing from the chin to the nose and seeing how that length compares to other dimensions on the face, and so on. | also mass in some tone in the shadows, This creates an optical similarity to the light and dark relationships in life, which makes general optical comparisons easier Until this point | have only alloveed myself to lack at these forms as abstracted, two-dimensional shapes—ihis helps prevent me from symbol- izing the features of the head. But at this point, | begin to allow myself to look at them as specific structures that make up the face. "aEoRAMNgHAGAZING cL Step1 I begin my drawings by lookin make up the big shapes ofthe pc tilts by holding my pencil up, at arm's length, in front of my subject. | then try to replicate these same tlts with lines on my paper. Once | have two or more tilts down, look at them in elation to one another on the paper. | do this until | have something that roughly suggests the pr cof the head. At this time I measure a haliway- point on the model and notate that point on my Grawing so that | can make everything line up properly as| begin to refine the forms. large tts that trait find these Drawing /Spring 2013 27Step4 When I start modeling lke to begin in an interesting and challenging area. If can model an eye or a nase well, that sets ‘a standard that every following form needs tolive upto. | also like the feeling of going forward without fear. Starting somewhere because it seems unimportant For this drawing, chose tostart ‘modeling in the right eye. ike to go inte a drawing confident and calm—not reckless. | work at ‘3 pace thatis realistic for me to achieve the detall and resolution inthe modeling | desire. | hink before every move | make, calcu» lating the relationship between the light source and the forrm so that Ican have @ good explana~ tien in my mind as to why the value is getting lighter or darker. Step3 {'m now fully in conceptual, three-dimensional ‘mode, and | can reinterpret and develop my shapes into structures. Rather than jumping into the details of any particular feature, | work toward them by counting through and building each structure, such as the orbit ofthe eye, the nasal hone, the arbicularis oris, and so on. | try to avoid including lines that aren't visible in life, such as, ‘axes or anatomical outlines, Instead | form @ men= tal picture of these concepts as | mave carefully to their visible aspects on the head. "meORAMING MACAW COM Steps The driving conceptual force behind eny modeling is the relationship between light and form. With every form | mode!—big and small—I study its surface’s relationship to the light. The more a form turns from the light, the less light itreceives and the darker it becomes. The more it turns ‘toward the light, the lighter it becomes. As | dram, | follow the form in a three-dimension- al, sculptural way, building the light effect according to this, logic. as you can see inthe i tial modeling an the forehead. My approach remains the same as | move through the drawing. finish each form as, 1 go, thoroughly developing the light effect through form conception, ‘weoRAMINGMACAZINE Step6 (My materials for this drawing are graphite and white Conté, which together set some parameters that |have towork within. When | begin modeling, must choose 2 part of the model’ form thet wl be the value of the paper. The toned paper | am working with isa middle value, so it felt natural to choose some of the midtones ‘around the mode''s brow and temples tobe the paper value. This means that other parts of form with that same surface orientation and local value will also be de~ scribed by the paper value. When a form curves further from the light than that orientation, | apply graphite to tum it toward shadow. For parts of the head that turn toward the light, | gradually apply white ContéStep 8 Once every formis complete ‘and I can see everything ina larger context, | pick out little areas that can be altered to better relate to the whole ‘The important thing for me in this stage is tobe sure that | approach my corrections with the same careful, form-based ‘approach that lused when beginning my drawing. i's easy to speed up and make weeping changes to val> ue when you have everything covered. Instead, !spend a long time trying to believ illusion of the drawing, seeing itnot as pencil on paper but as three-dimensional head. When | can convince myself of ‘a particular change, |imagine crawling over that form until reach the problem area where | slowly and carefully correct it 30 Drawing / Spring 2013 Step7 A large part of this diseipline consi of finding interest in every form you model. 've noticed that | will sometimes lose interest and mental stamina as | move to larger form with fewer detalls and less contrast. While | work, Ihave te remember dasa hat | enjoy modeling 2s draftsman “Heomawguacazie cow Morgan 2013, graphite and white CContéon toned paper, 12 «9. Collection the artist, ‘acomaw ngnasazig com ABOUTTHEARTIST ‘Scott Waddell received a BFA. from Florida Stale Uriversity, in Tallahassee, prior to studying lassical painting at The Florence Academy of Art and the Water Stret Atelier under Jacob Colins. He currently divides nis time between painting and teaching tthe Grand Cental Acad ‘emy af Art, in New York City He also teache: 3 various atinstitutions through the country includingin Edmond, Oklahoma, June 5 through une 9, in N 22 through August 2 and in Austin, Texas, Formoreinformalion, or to view instructional portrait videos by th idalinearts.com, Drawing / Spring 2013The Conté drawings and watercolor paintings of Matthew Daub depict real places, but the artist manipulates these scenes in any way necessary to communicate his emotional experience of the landscape. BY AUSTIN R. WILLIAMS: Colleton Leuis-Dreyts Fy. 82 Drawing / Spring 2013 ‘Hcomawguacazie cow ‘acomaw ngnasazie com Drawing /Spring 2013 38Matthew Daub landscape feels specific but at the same time gives you the sense that you could be anywhere. The exactness comes, in part, from a wealth of details that mark place. Intersections, street signs, buildings, and telephone poles give the impression that you're look: ing at one spot on one Pennsylvania road at a certain time of day during 2 certain time of year. But these lo- ‘ations also seem to stand for some- thing much broader. Maybe it's be- ‘cause the landscapes feel so American: Views filled with railroad tracks, grain silos, and long country roads evoke Edward Hopper, Charles Sheeler, Robert Frank, and a century of oth- cer artists who investigated America through such motifs. Daub’s images resonate with this national tradition, but America isn't necessarily their oen- tral subject, for these lonely landscapes also function on a more intimate level They're elusive, evocative, and person: al, providing compelling views into the artist's feelings about the places that surround him, Daub has focused on the landscape for the bulk of his career, and he be- lieves the subject has given him a ve- hicle for channeling his emotional and sensory experiences of the world. "My ‘environment has always been very mov- ing to me," the artist says, “Certain lo- cations and certain emotions at differ: cent times of day—it's the way that I feel that really interests me, more than the way a rock or a tree or a house looks.” Naturally enough, these connections ‘occur most intensely with the area in ‘eastern Pennsylvania where the artist lives, Daub draws and paints his imme- diate, everyday surroundings. “We've “YOU JUST NEED TO SAY WHAT YOU'RE GOING TO SAY WITH ENOUGH CONVICTION. PEOPLE WILL SEE IT AND BELIEVE IT.” 84 Drawing / Spring 2013 been living way out in the country for about seven years now." he says. “There aren't that many people, but this is my community, and art is one ‘way for me to feel like I'm a part of this environment.” Ultimately, Daub’s subject is not only the landscape itself but the land- scape as he experiences it. “Artists are always looking for subjects.” Daub ob- serves, “but as Delacroix said, the sub ject is you. Ican find interest in a rock in the water—that’s the Saturday, excuse that allows me to mee” g, Play with ny emotions. Bento, treasure things that real Colection Jy move me, whether they make me happy of sad. When I'm up in ray stue