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Tag: Drawing Techniques: How to Draw People Animals Landscapes & More
Claudia Nice understands how to convey the feeling of being in a landscape in person, and how to translate that to a work of art. Today, I’m happy to share with you this brief excerpt from her book, Creating Textured Landscapes with Pen, Ink and Watercolor.
This fall, Drawing magazine is celebrating its 10th anniversary, and to get the festivities started, the Drawing Magazine Blog is looking back at our 10 favorite covers. To see the full list so far, check out the entire Drawing Magazine …
The summer 2013 issue of Drawing focuses on illustration, highlighting how the best examples of the art form are not only wonderfully imaginative but also as technically accomplished as the drawings and paintings seen in galleries. For a taste of what’s included in …
Congratulations to the 124 artists chosen for North Light Books’ 2013 drawing competition Strokes of Genius 6: Value | Lights & Darks! If you see your name below, please check your email accounts (and junk boxes) for instructions on next …
In the November 2013 issue of The Artist’s Magazine, Sadie Valeri teaches you how to draw a value sphere from start to finish by using a controlled graphite shading technique to render light shining on a three-dimensional object.
Now that we’ve had a chance to define Zentangle® for those new to the drawing style, I wanted to revisit the topic. Many of you kindly shared your own Zentangles on our Facebook page, and I thank you for doing so–not only did that give me a chance to see more of the talent that’s out there, but you also opened others’ eyes to a beautiful form of art that’s new on the scene, and you did well…
Metalpoint (also known as silverpoint) is a fascinating medium that’s coming back into popularity. I happily root for the unsung hero, and since metalpoint isn’t mainstream (yet!), here are some perfect examples of what can be achieved in the medium from Drawing magazine.
Art, such as ‘Resting’ by Mary Ann Pals, speaks to poetic pauses in time, when we stop what we’re doing, lost in our own moment and consider past, present, and future instead of continuing on with our foot on the gas pedal as we round the bend.
During a series of 10 to 15 three-hour, live sessions, I draw the model on Ampersand Gessobord, using mainly a Derwent Graphic HB pencil. I start with a tentative drawing of the whole figure and then go back to the head to make sure that the shape and size are correct. When I feel the head is right, I go back to the whole figure, remeasuring and altering the proportions to fit with the head. Then I usually work area by area, starting with the neck and shoulders and arms and working down.