Drawing Winter 2013

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Academy of Realist Art
Toronto: info@AcademyofRealistArt.com 416-766-1280 | Boston: ARA_Boston@AcademyofRealistArt.com 617-426-3006 | www.AcademyofRealistArt.com
CLASSICAL INSTRUCTION FOR
A NEW GENERATION OF OLD MASTERS
This cast drawing was executed by Sophia Panova, a part-time student at ARA since
the age of 14. Originally from Kazakhstan, Sophia has always had a passion for art in
all forms. During high school a teacher introduced her to ARA, where she discovered
the discipline she needed to achieve her lifelong dream of being an architect. Having
now completed her undergraduate degree, Sophia credits the school for providing the
foundations and support she needed to help her along her career path.
You can also learn to draw and paint beautiful, accurate, realistic artwork based on the
teaching traditions of the Renaissance and the great academies of the 19th century.
Our ne art training ofers a step-by-step approach to mastering ne art skills. Whether
you are a hobbyist, seeking a career in traditional drawing and painting, or a trained
professional, this results-oriented system will help you achieve your ambitions and
expand your skills.
We ofer exible full-time and part-time programs with individualized instruction to
suit your skill levels and schedules. You can choose from an ongoing weekday class
schedule or join us for one of our workshops taught by our full-time instructors.
Topics include portrait and gure sketching and painting, still life and landscape
painting, red chalk drawing, and a variety of great artists techniques.
At ARA, the results are always beyond your expectations.
Ive been interested in art since I was a child, and tried all sorts of classes
as I was growing up. When I was 14, ARA took me in as a part-time student.
I was intimidated at rst, but as soon as I had my rst lesson with Fernando,
it was so easy to understand. I quickly realized just how professional and
well-designed a program it is. I hadnt seen anything like it anywhere.
ARA was an ideal way to build my technical skills, because architecture
is also very precise, calculated, purposeful and delicate. What I learned at
the studio has denitely played a part in my success throughout university.
I cant wait to come back. SOPHIA PANOVA
Academy of Realist Art ad.indd 1 1/9/13 2:19 PM
2 Drawing / Winter 2013 WWW. A RT I S T DA I LY. COM
TABLE OF
CONTENTS
WINTER 2013
34
Advice for Composing a Landscape:
The Three Key Principles
60
Measuring the Figure Made Easy
68, 74, 82
Colored Pencil: 3 Artists Discuss Their
Materials and Techniques
68
Use Household Materials to Enhance Your Drawing
82
Surfaces That Make Your Drawings Pop
ON THE COVER
6 EDITORS NOTE
8 CONTRIBUTORS
12 SKETCHBOOK
96 NEW AND NOTABLE
DEPARTMENTS
COVER IMAGE
tude: Fawns Leap
Catskills (detail)
by Thomas Kegler, 2008, ink and
gouache on toned paper, 9 x 12.
Collection the artist.
82
50
68
90
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FEATURES
22 Choosing Color
A sponsored guide to colored
pencils.
26 To Sketch and To Sculpt
Don Gale creates sculptures and
drawings that relish the possibilities
for drama and movement inherent in
the human figure. We sat down with
the artist to talk about the role that
drawing plays in his practice, how he
captures the gesture of a model, and
why quick poses are the essence of
the artistic process.
34 Understanding the
Anatomy of the
Landscape
BY AUSTIN R. WILLIAMS
Thanks to years of careful observa-
tion and diligent study, Thomas
Kegler is able to create landscapes
that are true to the laws of nature
and honor his own vision.
42 Why We Draw
We asked several instructors at
the American Academy of Art, in
Chicago, to share their thoughts on
CONTENTS
68 Work With
Whatever Works
BY NAOMI EKPERIGIN
Pat Averill has worked with
colored pencil for more than 20
years. Here, she shares some of
the self-taught techniques that
continue to invigorate her practice.
74 Colored Pencil
Demonstration:
Combining Techniques
for a Unified Drawing
BY GARY GREENE
82 Megan Seiter:
Colored Pencils or Bust
BY NAOMI EKPERIGIN
In just three short years, this young
artist has developed a signature style
and passion for colored pencil that
informs her process for creating
emotive still lifes.
90 Cataloguing
Imagination
Artists of all stripes are invited to
submit to The Sketchbook Projects
library and touring exhibition.
the importance of drawing in an
artists education. Their answers
shed light on many of the ways that
drawing can advance ones practice.
50 Curators Choice:
10 Masterpieces From
The Crocker Art Museum
In this new series, we ask leading
art institutions to select some
of the best drawings from their
collections and discuss what
artists today can learn from these
masterworks. Here, we visit the
Crocker Art Museum, in Sacra-
mento, where William Breazeale,
the museums curator of European
art, chose 10 amazing drawings
that take us from Mannerist Italy
to the bohemian salons of 19
th
-
century France.
60 Drawing Fundamentals:
Measuring the Figure
BY JON DEMARTIN
Using this easy technique, you can
measure key proportions in the
early stages of drawing and be sure
you have an accurate foundation
from which to work.
60
26
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NAOMI EKPERI GI N (Work With Whatever Works and Megan Seiter: Colored Pencils or Bust) is
an associate editor of Drawing.
GARY GREE NE (Colored Pencil Demonstration: Combining Techniques for a Unified Drawing) is the
author of The Ultimate Guide to Colored Pencil, Creating Textures in Colored Pencil, and Creating Radiant
Flowers in Colored Pencil, all from North Light Books (www.northlightshop.com). Gary has won numer-
ous awards, including three Awards of Excellence from the Colored Pencil Society of America. He has
conducted workshops, demonstrations, and lectured nationally and internationally since 1985. For
more information, visit www.ggart.biz.
JON DEMART I N (Drawing Fundamentals: Measuring the Figure) is a New York City artist whose
work can be found in many private collections. He teaches life drawing at Studio Incamminati, in
Philadelphia, and at Parsons The New School For Design and the Grand Central Academy of Art,
both in New York City. DeMartin is a contributing artist at Hirschl & Adler Modern, in New York City,
and John Pence Gallery, in San Francisco. He is featured in a new instructional DVD from American
Artist about painting the grisaille. View his work at www.jondemartin.net.
AUS T I N R. WI L L I AMS (To Sketch and to Sculpt, Understanding the Anatomy of the Landscape,
Sketchbook, and New & Notable) is an associate editor of Drawing.
CONTRIBUTORS
Compete and Win in 5 Categories!
ABSTRACT/EXPERIMENTAL ANIMAL/WILDLIFE LANDSCAPE/INTERIOR
PORTRAIT/FIGURE STILL LIFE/FLORAL
For complete prizes, guidelines and to enter online, visit
artistsnetwork.com/the-artists-magazine-annual-competition
See your work
in The Artists
Magazine!
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the December 2013 issue
of The Artists Magazine.
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and prizes
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Secrets to Composition
Barbara Nuss
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Remembrances of South Texas
(detail, pastel over acrylic, 27x48) by Jeannette Cuevas
Galen (detail, colored pencil, 12.5x24) by Tanja Gant
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Claudia Nice
Follow along and learn exciting new watercolor, pen, and ink techniques with the
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painting style and approach to new subjects as you learn how to mix pen and ink
into your watercolor paintings.
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YOUR PRICE: $20.49
Watercolor Wisdom
Learn from experienced watercolor
artist Jo Tylor as she shares her favorite
and most valuable watercolor painting
tips and techniques. Soon youll be
painting in watercolor with condence
and be able to work from a foundation
of knowledge. Each lesson in organized
with artists in mind, highlighting rules
and guidelines for making the most of
your time at your canvas.
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to get started!
108 MINUTES, DVD
ITEM # V9232 RETAIL: $29.99
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Easy Mixed Media Techniques
for the Art Journal,
with Seth Apter
Seth Apter, the voice behind
the well-loved blog The Altered
Page, shares his favorite tips &
techniques for creating an art
journal in Easy Mixed Media
Techniques for the Art Journal.
95 MINUTES, DVD
YOUR PRICE: $19.99
Painting Realistic
Landscapes in Pastel: Skies,
with Liz Haywood-Sullivan
In this workshop, Liz demonstrates
exercises on aerial perspective, value,
and color to introduce the elements
needed to paint a believable sky.
101 MINUTES, DVD
YOUR PRICE: $23.99
Classic Pet Portraits - How to
Draw a Dog, with Joy Thomas
Draw your favorite pets using
techniques of the Old Masters
as you work in charcoal on
colored and toned paper. Joy shows
you everything you need to get
started with her review of materials
and the subject.
99 MINUTES, DVD
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Sketchbook Condential 2
with the Editors of North Light Books
In Sketchbook Condential 2 youll
hear from more than 41 masterful
artists. Great for art students,
teachters, aspiring artists and art
acionados alike this book is a
trusted reference for those looking
to create and live a more artistic life.
OUR PRICE: $16.32
Alternative Art Journals,
with Margaret Peot
Art journaling is a fun way to
collect and celebrate your creative
thoughts and inspirations. Driven
by the concept that we are all in-
spired in different ways, Alternative
Art Journals shows how to create
personal and unique journals.
ITEM #Y1757 RETAIL $24.99
YOUR PRICE: $16.49
Colored Pencil Explorations,
with Janie Gildow
Award-winning colored pencil artist
Janie Gildow teaches workshops
for the Colored Pencil Society of
America and Creative Colored
Pencil Workshops.
YOUR PRICE: $17.81
Secrets of Drawing - Figures
and Faces, with Craig Nelson
Learn how to draw portraits that
capture emotion and face-drawing
tips that bring your portraits to life.
Using common drawing tools Craig
Nelson shows you how to draw
gures like a professional.
96 PAGES, PAPERBACK
YOUR PRICE: $10.26
Draw Animals in Nature,
with Lee Hammond
Using her trademark blended-
pencil technique, best-selling
author Lee Hammond shows
how to draw a wide range of
wild animals and birds in their
natural habitats.
YOUR PRICE: $16.49
Zentangle Untangled,
with Kass Hall
This is the rst full-length title on the
process of Zentangle; an art form
that uses repetitive patterns to cre-
ate striking works of art that anyone
can achieve, regardless of age or
artistic ability.
YOUR PRICE: $16.32
2013 Artists & Graphic
Designers Market
with Mary Burzlaff Bostic
Gain quick access to the contact
information and submission
guidelines for more than 1700
publishers, galleries, art fairs &
ad agencies.
YOUR PRICE: $19.75
Journal Fodder 365
with Eric M. Scott & David R. Modler
A workshop that lasts all year,
readers get art-journaling ideas,
exercises and prompts to engage
on a daily, weekly and monthly
basis, all with a bit of personal
introspection and an opportunity
to learn cool art techniques.
YOUR PRICE: $14.11
NorthLightShop.com ad Sprd.indd 11 1/9/13 2:34 PM
WWW. A RT I S T DA I LY. COM Drawing / Winter 2013 13 12 Drawing / Winter 2013 WWW. A RT I S T DA I LY. COM
The Many Uses of Graphite
T H R O U G H MA R C H 1 0
Indianapolis Museum of Art
Indianapolis, Indiana
(317) 923-1331
www.imamuseum.org
Experienced draftsmen know that
graphite comes in many formats oth-
er than No. 2 pencils. It can be ma-
chined or carved; used as a powder,
liquid, or in stick form. Graphite, a
current exhibition at the Indianapolis
Museum of Art (IMA), explores the
diverse uses for the centuries-old
medium in both traditional drawings
and more contempoarary art forms.
The exhibition examines the ways
that the material itself is used for-
mally and conceptually with a look
at drawings, sculptures, and installa-
tions, created by 15 artists during the
past decade.
By bringing together works that
share only the basic similarity of the
use of graphite, we hope to provoke a
re-examination of topics like materi-
al choice and the experience of an ob-
jectideas embedded in contempo-
rary artistic practice but often taken
for granted, says Sarah Urist Green,
IMAs curator of contemporary art.
This exhibition seeks to create a con-
versation about the significance of
medium at a time when the subject
has been largely ignored.
Among the more than 50 works
in the exhibition is Carl Andres
Graphite Cube Sum of Numbers,
which comprises 164 geometrically
arranged units of machined graph-
ite. In this company, Robert Longos
recent miniatures paying tribute to
the work of earlier artists
appear almost classical.
Other artists represented
in the exhibition include
Kim Jones, Dan Fischer,
and Karl Haendel.
A digital catalogue ac-
cessible via web brows-
ers and e-readerswhich
will include video and
audio elementswill be
available in early 2013.
Diamond No. 2
by Karl Haendel, 2009, graphite on paper with
MDF frame, 90 x 66. Courtesy the artist and Harris
Lieberman Gallery, New York, New York.
DR_Sketchbook_Win13.indd 12 1/9/13 4:19 PM
The Many Uses of Graphite
OPPOSI TE PAGE
Untitled (After Lichtenstein,
WHAAM! , 1963)
by Robert Longo, 2008, graphite on
paper, 3
1
16 x 7
5
16. Courtesy the artist
and Metro Pictures Gallery, New
York, New York.
BELOW
Graphite Cube Sum of Numbers
by Carl Andre, 2006, graphite cubes,
4 x 229 x 40. Image courtesy
Sadie Coles HQ, London, England.
Carl Andre/Licensed by VAGA,
New York, NY.
Among the more than 50 works
in the exhibition is Carl Andres
Graphite Cube Sum of Numbers,
which comprises 164 geometrically
arranged units of machined graph-
ite. In this company, Robert Longos
recent miniatures paying tribute to
the work of earlier artists
appear almost classical.
Other artists represented
in the exhibition include
Kim Jones, Dan Fischer,
and Karl Haendel.
A digital catalogue ac-
cessible via web brows-
ers and e-readerswhich
will include video and
audio elementswill be
available in early 2013.
DR_Sketchbook_Win13.indd 13 1/18/13 10:55 AM
Graphic Designers Take Center
Stage in Philadelphia
DOUBLE PORTRAIT: PAULA SCHER AND
SEYMOUR CHWAST, GRAPHIC DESIGNERS
T H R O U G H A P R I L 1 4
Philadelphia Museum of Art
Philadelphia, Pennsylvania
(215) 763-8100
www.philamuseum.org
Paula Scher and Seymour Chwasts
inf luential illustrations and designs
have graced record albums, books,
magazine covers, and posters, and
also include typefaces, logos, and oth-
er graphics. Both artists are mem-
bers of the Art Directors Club Hall of
Fame and recipients of the medal of the
American Institute of Graphic Arts. In
conjunction with their receipt of the
2012 Collab Design Excellence Award,
the Philadelphia Museum of Art
has mounted the exhibition Double
Portrait, which marks the first time
the husband-and-wife pairs work will
be shown together.
Chwast studied at the Cooper Union,
in New York City, and co-founded
Push Pin Studios in 1954 with class-
mates Milton Glaser and Edward Sorel.
The group broadened the boundaries
of modern design, proving widely inf luential on a
range of graphic styles. Chwasts designs have been
used in advertising, animated films, and editori-
al, corporate, and environmental graphics, and in
publications such as The New York Times, The New
Yorker, The Atlantic, and Time.
Scher began her professional career as an art di-
rector designing record covers for CBS and Atlantic
Records, and she went on to develop an inf luential
approach to typography. She has developed identi-
ty and branding systems, promotional materials,
graphics, packaging, and other designs for a broad
range of clients, including The Museum of Modern
Art, the New York City Ballet, Citibank, Microsoft,
and the Sundance Film Festival.
ABOVE
Lucent Technologies Center for Art Education,
New Jersey Performing Arts Center
by Paula Scher, 2001, paint.
ABOVE RI GHT
Seymour
by Seymour Chwast, 2009, digital print,
35 x 23.
p
h
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Graphic Designers Take Center
Stage in Philadelphia
DOUBLE PORTRAIT: PAULA SCHER AND
SEYMOUR CHWAST, GRAPHIC DESIGNERS
Paula Scher and Seymour Chwasts
inf luential illustrations and designs
have graced record albums, books,
magazine covers, and posters, and
also include typefaces, logos, and oth-
er graphics. Both artists are mem-
bers of the Art Directors Club Hall of
Fame and recipients of the medal of the
American Institute of Graphic Arts. In
conjunction with their receipt of the
2012 Collab Design Excellence Award,
the Philadelphia Museum of Art
has mounted the exhibition Double
Portrait, which marks the first time
the husband-and-wife pairs work will
be shown together.
Chwast studied at the Cooper Union,
in New York City, and co-founded
Push Pin Studios in 1954 with class-
mates Milton Glaser and Edward Sorel.
The group broadened the boundaries
of modern design, proving widely inf luential on a
range of graphic styles. Chwasts designs have been
used in advertising, animated films, and editori-
al, corporate, and environmental graphics, and in
publications such as The New York Times, The New
Yorker, The Atlantic, and Time.
Scher began her professional career as an art di-
rector designing record covers for CBS and Atlantic
Records, and she went on to develop an inf luential
approach to typography. She has developed identi-
ty and branding systems, promotional materials,
graphics, packaging, and other designs for a broad
range of clients, including The Museum of Modern
Art, the New York City Ballet, Citibank, Microsoft,
and the Sundance Film Festival.
End Bad Breath
by Seymour
Chwast, 1967,
offset lithograph,
37 x 24.
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T H R O U G H J U N E 2
Minneapolis
Institute of Arts
Minneapolis,
Minnesota
(888) 642-2787
www.artsmia.org
Destitution on Paper
PICTURING POVERTY:
ARTISTIC VIEWS
OF THE POOR IN THE
BAROQUE ERA
Beggar Seen From Behind
by Jean-Pierre Norblin de la Gourdaine,
1787, etching and drypoint on Japan paper.
During the 17
th
century,
artists in Europe began
looking to everyday life
for their subjects, pay-
ing special attention to
the poor. The plight of
the impoverished came
to the fore during the
Thirty Years War (1618
1648), which reduced broad swaths of Europe
to subsistence living or starvation. As this ex-
hibition demonstrates, many artists were able
to find a sort of ragged dignity in the lower
levels of society. They showed the poor in at-
titudes of industrious acceptance or stoicism,
where a battered hat became a crown of vir-
tue, a sign of resolute endurance of a miser-
able life.
Such fortitude found adherents, especial-
ly in France with the Le Nain brothers, whose
sympathies are evident in their works portray-
ing poor farmers in all their deprivation and
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resignation. A strong note of compassion also
informed the work of Stefano della Bella and
Rembrandt, whose portrayals of wretched hu-
manity often took on a remarkably personal
character. In other cases, an insistent attention
to the decorative value of tattered and patched
clothes, wrinkles, and sagging cheeks suggests
a colder curiositya simple pleasure in the
representation of the picturesque and a will-
ingness to caricature misery.
T H R O U G H J U N E 2
Minneapolis
Institute of Arts
Minneapolis,
Minnesota
(888) 642-2787
www.artsmia.org
Destitution on Paper
PICTURING POVERTY:
ARTISTIC VIEWS
OF THE POOR IN THE
BAROQUE ERA
Adoration of the
Shepherds
by Abraham Bloemaert,
ca. 15661651, pen-and-
black-ink, brown wash, and
white and black chalk on
laid paper.
During the 17
th
century,
artists in Europe began
looking to everyday life
for their subjects, pay-
ing special attention to
the poor. The plight of
the impoverished came
to the fore during the
Thirty Years War (1618
1648), which reduced broad swaths of Europe
to subsistence living or starvation. As this ex-
hibition demonstrates, many artists were able
to find a sort of ragged dignity in the lower
levels of society. They showed the poor in at-
titudes of industrious acceptance or stoicism,
where a battered hat became a crown of vir-
tue, a sign of resolute endurance of a miser-
able life.
Such fortitude found adherents, especial-
ly in France with the Le Nain brothers, whose
sympathies are evident in their works portray-
ing poor farmers in all their deprivation and
Rembrandt and Co.
REMBRANDTS CENTURY
J A N U A R Y 2 6 T H R O U G H J U N E 2
de Young Museum
San Francisco, California
(415) 750-3600
http://deyoung.famsf.org
CLOCKWI SE FROM TOP LEFT
Shell: Major Harp (harpa major) by Wenceslaus Hollar, ca. 1646, etching, 3
11
16 5
9
16. All artwork this exhibition Fine Arts Museums of San Francisco; San Francisco, California.
Village Romance by Adriaen Van Ostade, ca. 1652, etching, 6
3
16 4
7
8.
A Youth Singing attributed to the Candlelight Master, 1650, oil, 26 x 19.
The Large Cat by Cornelis Visscher, 1657, engraving, 5
11
16 7
5
16.
Salt Flats at Le Croisic by Lambert Doomer, ca. 16711673, brown ink and brown and gray washes on ledger paper, 9
7
16 16
1
8.
This new exhibition at San Franciscos de
Young Museum comprises a wide range
of artworks from many 17
th
-century
artists, but the core of the show is a group
of etchings by Rembrandt. Also includ-
ed are works by contemporary European
artists both famousWenceslaus
Hollar, Jusepe de Riberaand forgot-
ten. Rembrandts Century explores the
artists predecessors and the impact of
the master on followers in Holland and
around Europe. The collection on display
includes engravings, ink drawings, and
watercolors, and focuses on the rich body
of prints produced in the era.
Rembrandts Century will comple-
ment the de Youngs concurrent exhibi-
tion of one of the worlds most recogniz-
able paintings, Vermeers Girl With a Pearl
Earring. The masterpiece is on loan to the
museum while its permanent home at
the Mauritshuis, in the Hague, undergoes
renovation and will be displayed alongside
34 other paintings from the collection of
the esteemed Dutch museum.
Both exhibitions reveal the shifting
subject matter and techniques used by
artists over the course of the 17
th
century,
as secular subjects began to replace reli-
gious themes and portraitists turned their
attention toward ordinary people. The
Fine Arts Museums of San Francisco are
thrilled to have this rare opportunity to
share these works from the Mauritshuis,
says Dr. Lynn Orr, the museums curator
of European art. The brilliant flowering
of the Dutch school exemplified in these
paintings was a unique achievement, and
the works continue to intrigue and de-
light to this day.
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WWW. A RT I S T DA I LY. COM Drawing / Winter 2013 21
Robert Barrett shows you all the techniques and tips you need to
draw the human gure from life. Not just another anatomy book,
this guide includes hundreds of gure drawing examples, advice
on drawing materials (charcoal, pencils, pastels and more) and
detailed step-by-step lessons on drawing from life:
The basics of gure anatomy, proportion and design
including the face, feet and hands
How to use light and shadow to create form
How to draw drapery and backgrounds
How to capture your subjects character
How to create compelling drawing compositions using the
center of interest
draw the gure with
LIFE and PERSONALITY
This and many more North Light products are
available at your favorite art & craft retailer or
bookstore. They can also be found online at
northlightshop.com, or call 1-800-258-0929
to order.
an imprint of F+W Media, Inc.
ArtistsNetwork
Degas In-Depth
DEGAS, MISS LA LA, AND THE CIRQUE FERNANDO
F E B R U A R Y 1 5 T H R O U G H MA Y 1 2
The Morgan Library & Museum
New York, New York
(212) 685-0008
www.themorgan.org
For several evenings in 1879, Edgar
Degas (18341917) attended perfor-
mances at the Cirque Fernando by the
famous aerialist Miss La La. For her ex-
traordinary act, Miss La La was slowly
hoisted nearly 70 feet into the circuss
domed roof, suspended solely from a
rope clenched between her teeth.
Degas produced a number of studies
of the performer, leading up to his cel-
ebrated painting, Miss La La au Cirque
Fernando. The Morgans current exhi-
bition brings together this remarkable
paintingon loan from the National
Our goal is to make every issue of Drawing magazine as informative
and inspiring as possible. In order to achieve this, we need you to
share your thoughts about the publication. Please visit http://bit.ly/
DrawingSurvey2013 to take Drawings reader survey, where you can:
recommend artists to be featured in the magazine
tell us which articles are most useful for you
let us know what materials and subjects you would like to see cov-
ered more often in Drawing
Additionally, everyone who takes the survey receives a discount
on future purchases at the North Light Shop and is entered for a
chance to win a $100 gift certificate.
Please visit http://bit.ly/DrawingSurvey2013 by February 28
your input is extremely valuable to us.
ANNOUNCING THE
READER SURVEY!
Robert Barrett shows you all the techniques and tips you need to
draw the human gure from life. Not just another anatomy book,
this guide includes hundreds of gure drawing examples, advice
on drawing materials (charcoal, pencils, pastels and more) and
detailed step-by-step lessons on drawing from life:
The basics of gure anatomy, proportion and design
including the face, feet and hands
How to use light and shadow to create form
How to draw drapery and backgrounds
How to capture your subjects character
How to create compelling drawing compositions using the
center of interest
draw the gure with
LIFE and PERSONALITY
This and many more North Light products are
available at your favorite art & craft retailer or
bookstore. They can also be found online at
northlightshop.com, or call 1-800-258-0929
to order.
an imprint of F+W Media, Inc.
ArtistsNetwork
Degas In-Depth
DEGAS, MISS LA LA, AND THE CIRQUE FERNANDO
F E B R U A R Y 1 5 T H R O U G H MA Y 1 2
The Morgan Library & Museum
New York, New York
(212) 685-0008
www.themorgan.org
For several evenings in 1879, Edgar
Degas (18341917) attended perfor-
mances at the Cirque Fernando by the
famous aerialist Miss La La. For her ex-
traordinary act, Miss La La was slowly
hoisted nearly 70 feet into the circuss
domed roof, suspended solely from a
rope clenched between her teeth.
Degas produced a number of stud-
ies of the performer, leading up to his
celebrated painting, Miss La La at the
Cirque Fernando. The Morgans cur-
rent exhibition brings together this re-
markable paintingon loan from the
LEFT
Miss La La at the Cirque
Fernando
by Edgar Degas, 1879,
black chalk with touches
of pastel, 18 x 12
5
8.
Courtesy Trustees of
the Barber Institute of
Fine Arts, University of
Birmingham; Birmingham,
England. All artwork this
article courtesy Morgan
Library & Museum, New
York, New York.
BELOW
Miss La La at the Cirque
Fernando
by Edgar Degas, 1879, oil,
46
1
8 x 30. Collection
National Gallery, London,
England. National
Gallery, London / Art
Resource, NY.
Our goal is to make every issue of Drawing magazine as informative
and inspiring as possible. In order to achieve this, we need you to
share your thoughts about the publication. Please visit http://bit.ly/
DrawingSurvey2013 to take Drawings reader survey, where you can:
recommend artists to be featured in the magazine
tell us which articles are most useful for you
let us know what materials and subjects you would like to see cov-
ered more often in Drawing
Additionally, everyone who takes the survey receives a discount
on future purchases at the North Light Shop and is entered for a
chance to win a $100 gift certificate.
Please visit http://bit.ly/DrawingSurvey2013 by February 28
your input is extremely valuable to us.
National Gallery, in Londonwith
nearly all of the artists preparatory
works, as well as artwork by Degas con-
temporaries, providing further context
for his treatment of circus spectacle.
Winter Jan 7Mar 17
Spring Apr 8June 16
Summer July 8Sept 15
Fall Oct 7Dec 15
Gesture Portraits II
by Jeffrey R. Watts
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2013 Term Dates
For Class & Workshop Dates,
Descriptions and Pricing
Visit:
www.WattsAtelier.com
DR_Sketchbook_Win13.indd 21 1/11/13 11:47 AM
22 Drawing / Winter 2013 WWW. A RT I S T DA I LY. COM WWW. A RT I S T DA I LY. COM Drawing / Winter 2013 23
SPECI AL ADVERTI SING SECTION SPECI AL ADVERTI SING SECTION
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Tati with Attitude
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CALL FOR ENTRI ES
strokes of genius
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VALUE LI GHTS AND DARKS
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Strokes of Genius Comp ad.indd 25 1/9/13 4:45 PM
Don Gale creates sculptures and drawings that relish
the possibilities for drama and movement inherent in the
human figure. We sat down with the artist to talk about
the role that drawing plays in his practice, how he captures
the gesture of a model, and why quick poses are the
essence of the artistic process.
TO SKETCH
TO SCULPT
and
DR_Gale_Win13.indd 26 1/8/13 11:37 AM
DRAWING: Is drawing for sculpture much
different from other modes of drawing?
DON GALE: Theres a difference between how
sculptors and painters draw. Sculptors such
as Michelangelo and the Florentine artists
drew in line that defined the form. They
were interested in where the form began
and ended. Painters define form through
light and through shades, so a lot of the
time they dont show the whole bound-
aries of a form in their drawings. When
LEFT
Three-Brained Man No. 6
1985, bronze, 19 x 13 x 9. Collection
Seven Bridges Foundation, Greenwich,
Connecticut.
OPPOSI TE PAGE
Study for Three-Brained Man
1984, black iron oxide chalk, 12 x 16.
All artwork this article collection the
artist unless otherwise indicated.
sculptors sculpt, they have to make the whole
formthey cant create it just with tone.
DR: Do you create many drawings
specifically in preparation
for a new sculpture?
DG: Drawing, for me, is a way of under-
standing form, and more often Ill make
drawings to understand a specific part
of the figure. Ill make a drawing that
depicts an arm, for example, to study
how to create an arm. Then I put that
knowledge to work in a sculpture.
DR: Do you find that the physicality
of sculpture and the physicality of
figure drawing are closely aligned?
DG: Yes, but they are also different. The
physicality of drawing is instantaneousits
muscle memory, its how the hand works.
In sculpture, the challenge is to maintain
the energy much longer; that same level of
energy and excitement needs to be there
whenever youre working. If you get tired,
you should leave your work and come back
later. If you work on a sculpture when you
dont have the right energy, youll destroy it.

DR: You are a dedicated draftsman of quick
poses. After having drawn thousands of
them, what still compels you to draw
two-, three-, or five-minute poses?
DG: Creativity takes place in the unknown
the discovery of a form or image not yet
manifested. It is why artists make art.
Consider Van Gogh in the last 70 days of his
lifehe created about one painting a day.
Why? It doesnt seem his motivation was
money. Just imagine coming back each day
with a painting, propping it up on the bed,
and wondering where the image came from.
I believe what motivated him to go out
the next day and paint again and again was
the excitement of not knowing what was go-
ing to happen next. That excitement is also
the reason I draw quick poses. It is like au-
tomatic writing, where you put words on the
page without judgment or thought. It also
leaves the door open for the possibility of ac-
cidents. Just look at all the things that have
been created by accidentpenicillin, choco-
late, champagne, Tef lon, popsicles. My wife
once said that in my drawing, even accidents
are correct. You want to work on the form
as you see it, but leave room for accidents.
The quick pose also has a lot of unob-
structed, instantaneous energy to it because
you dont have much time. You see some-
thing, and youre excited about it, and you
want to get it down on paper. Theres no
SOME TEACHERS ARE OPPOSED
TO SKILL BECAUSE THEY FEEL I T
KILLS CREATI VI TY. BUT IN FACT
I T S THE OPPOSI TESKILL GI VES
YOU THE CAPACI TY TO CREATE.
RI GHT
Fakir
2008, bronze, 32 x 26 x 10.
FAR RI GHT
Standing Figure
1980, black iron oxide chalk,
16 x 12.
how to create an arm. Then I put that
knowledge to work in a sculpture.
DR: Do you find that the physicality
of sculpture and the physicality of
figure drawing are closely aligned?
DG: Yes, but they are also different. The
physicality of drawing is instantaneousits
muscle memory, its how the hand works.
In sculpture, the challenge is to maintain
the energy much longer; that same level of
energy and excitement needs to be there
whenever youre working. If you get tired,
you should leave your work and come back
later. If you work on a sculpture when you
dont have the right energy, youll destroy it.

DR: You are a dedicated draftsman of quick
poses. After having drawn thousands of
them, what still compels you to draw
two-, three-, or five-minute poses?
DG: Creativity takes place in the unknown
the discovery of a form or image not yet
manifested. It is why artists make art.
Consider Van Gogh in the last 70 days of his
lifehe created about one painting a day.
Why? It doesnt seem his motivation was
money. Just imagine coming back each day
with a painting, propping it up on the bed,
and wondering where the image came from.
I believe what motivated him to go out
the next day and paint again and again was
the excitement of not knowing what was go-
ing to happen next. That excitement is also
the reason I draw quick poses. It is like au-
tomatic writing, where you put words on the
page without judgment or thought. It also
leaves the door open for the possibility of ac-
cidents. Just look at all the things that have
been created by accidentpenicillin, choco-
late, champagne, Tef lon, popsicles. My wife
once said that in my drawing, even accidents
are correct. You want to work on the form
as you see it, but leave room for accidents.
The quick pose also has a lot of unob-
structed, instantaneous energy to it because
you dont have much time. You see some-
thing, and youre excited about it, and you
want to get it down on paper. Theres no
RI GHT
Walking
1985, bronze, 34 x 16 x 11.
Collection Tom Chess.
time to worry about getting it exact. When
working on something more prolonged, part
of the challenge is to maintain that same
level of intensity. If you can do that, you can
create something really remarkable. The
Mona Lisa is an example. Leonardo worked
on it for four years, and he painted it with
a brush as thin as a hair. And it has an in-
tensity way beyond most paintingits not
overworked at all. How do you work on a
painting for four years and not overwork it?
Its incredible.
DR: Your figure drawings possess a tre-
mendous sense of gesture. What is the
importance of the gesture, and how do
you capture it in a drawing?
DG: The gesture is a representation of the
total figure, and drawing is all about the
total figurelearning to see the total figure
and find how the parts relate to that whole.
If you can conceive of the total figure and
keep it in mind as youre drawing the indi-
vidual parts of the body, you cant miss.
I draw the gesture as a line of action
that comes all the way up through the fig-
ure. Its almost an abstract line; theres
LEFT
Quick Pose No. 2
2012, charcoal, 18 x 12.
BELOW LEFT
Quick Pose No. 3
2012, charcoal, 18 x 12.
BELOW RI GHT
Quick Pose No. 4
2012, charcoal, 18 x 12.
not definition to the form yet. But that
line has a rhythm, and it gets at the to-
tal figure. I then add the definitions
of the figure on to that initial line.
DR: Many of your works juxtapose the
curving, organic, idiosyncratic forms
of the body against the rigid forms of
walls, chairs, and rectangular pedes-
tals. Does this contrast hold special
interest for you?
DG: There are two kinds of lines: straight
lines and curved lines. I see combining
them as a way of marrying the intel-
lect to the emotions. The straight line
is the line of the intellect, the line of
the architect. The straight line sets the
mind up into a thought process. The
curved line is the line of emotion.
By connecting and balancing these two
types of lines, we can bring the intellect and
emotions into one experience. Look at the
paintings of Giotto or Piero della Francesca.
They work a lot with the straight line, but
they run very controlled curves into them.
Michelangelo would draw a straight line,
then add a curve to it, giving structure to
the drawing. Or in Gothic cathedrals, you
find arches that go up as straight lines and
then start to curve. Within this framework,
classical art balanced these two lines to cre-
ate a harmonious balance between thought
and emotion. Later, art entered into the ro-
coco period, with a predominance of curved
lines as art became more emotional.
Of course, straight lines are not all the
same. Vertical, horizontal, and diagonal
lines convey different meanings. The verti-
cal is the thrustits an action, its how we
time to worry about getting it exact. When
working on something more prolonged, part
of the challenge is to maintain that same
level of intensity. If you can do that, you can
create something really remarkable. The
Mona Lisa is an example. Leonardo worked
on it for four years, and he painted it with
a brush as thin as a hair. And it has an in-
tensity way beyond most paintingits not
overworked at all. How do you work on a
painting for four years and not overwork it?
Its incredible.
DR: Your figure drawings possess a tre-
mendous sense of gesture. What is the
importance of the gesture, and how do
you capture it in a drawing?
DG: The gesture is a representation of the
total figure, and drawing is all about the
total figurelearning to see the total figure
and find how the parts relate to that whole.
If you can conceive of the total figure and
keep it in mind as youre drawing the indi-
vidual parts of the body, you cant miss.
I draw the gesture as a line of action
that comes all the way up through the fig-
ure. Its almost an abstract line; theres
Three-Brained
Man
1999, bronze,
77 x 45 x 56.
Collection Seven
Bridges
Foundation,
Greenwich,
Connecticut.
walk. The horizontal is more passiveits
how you sleep, its what you see at the beach.
The vertical and horizontal together are
the active and the passive, the yang and the
yin. Then there is the diagonal line, which
is variation and movement. If you look at
anything in perspective, a diagonal is what
takes you into three-dimensional space.
Curved lines are not all the same, ei-
ther. There are fast curves and slow curves.
The fast curve creates a staccato move-
ment; the slow curve comes gently, like
a symphony. And these lines can curve
into one another, creating a rhythm.
DR: How do you define skill with
regards to art? And how should it
figure into an artists education?
DG: Skill is applied knowledge. Its when
you know something and can apply it over
and over again. People understand it in
regards to music better than in regards
to art. A musician has to know how to
press the keys, how to position the fin-
gers, and so on. And to really understand
that knowledge, one has to apply it again,
and again, and again. Its the same with
something as simple as learning to type
or as complex as performing surgery.
When it comes to drawing, you have
to have knowledge of how light hits the
form; how to model it. Those are pro-
grams that you learna little like pro-
gramming a computer to perform cer-
tain functions. Thats skill. Some teachers
are opposed to skill because they feel it
kills creativity. But in fact its the oppo-
siteskill gives you the capacity to create.
Take quick poses, for instance. You
wouldnt be able to create them without
applied knowledgethe different pro-
grams your hand learns through time and
repetition. In these drawings, you move
at such speed, without thought, that the
drawings just come out. And that speed
and absence of thought is what the draw-
ings are about, in a way. They show the
emotion that comes through the hand,
and they also show something beyond
the emotion; something unknown. And
the core of creativity is the unknown.
SKILL I S APPLIED KNOWLEDGE. I T S WHEN YOU KNOW
SOMETHING AND CAN APPLY I T OVER AND OVER AGAIN.
Action-
Reaction
1980,
lithograph,
16 x 48.
DR: How did your training impact you
as an artist?
DG: I studied at Art Center College of
Design, in Los Angeles. It was mostly
a commercial art school; I was one of
three students studying fine arts at the
time. The drawing instructors were
mostly fine artistsLorser Feitelson and
Harry Carmean, in particular, were key
instructors for me. We had an intense
programwe drew 6 hours a day for two
years. There were also night classes, where
I would draw more. All I did was draw.
However, my instructors had their
own strong styles, and although I learned
drawing from them, it came with bag-
gageI learned to draw in their styles.
When I finished school, I needed to break
from those styles, and to do that, I decid-
ed to draw in a new medium. I got a book
about how to make drawing materials, and
I came up with my own medium made
from red and black iron oxide mixed with
a binder. It was almost impossible to draw
withjust to make a mark was a struggle.
But I drew with it. It was personal, I could
connect with it, and it was so difficult that
it forced me to break from the habits Id
learned from my instructors.
DR: What advice do you have for artists
who are studying drawing and have an
interest in sculpture?

DG: You can do it on your own, but you can
arrive much faster if you find the right
teacher. Its possible to figure out how
sculptures, paintings, and drawings were
made just from looking at them. However,
an instructor can tell you what to look for
in the analysis of the old and new masters.
Magazines like this are also a good place
to startespecially for drawing. All these
articles have an abundance of knowledge.
DR: Do you consider your draw-
ings to be finished works of art?
DG: I think any drawing is finished when the
thought is put down on paper. Art is com-
munication, in a way. Even what the cave
painters were doing was communicating
through symbols. A two-minute drawing is
finished once it communicates the thought
that the artist seeks to express. v
ABOUTTHEARTIST
Don Gale studied drawing at Art Center College of Design, in
Los Angeles, and later studied sculpture and drawing at Otis
Art Institute, also in Los Angeles. Gale has exhibited his work at
venues across the country, and he is currently represented by
Gallery Henoch, in New York City; and Nuart Gallery, in Santa
Fe. For more information, visit www.dongalestudio.com.
Thanks to years of careful observation and diligent study,
Thomas Kegler is able to create landscapes that
are true to the laws of nature and honor his own vision.
B Y A U S T I N R . WI L L I A MS
Thomas Kegler is never at a loss
for something to paint or draw, and for
this, he feels fortunate. So many artists
get blank-canvas syndrome, he says.
I consider myself really luckyI have
no shortage of concepts and subjects
Im attracted to. Ill take a walk through
the woods and by the time Im home,
Ive seen ten good potential paintings.
Even though Keglers oil landscapes
are often inspired by the sweeping pan-
oramas of the Hudson River School, the
subjects that attract him arent all soar-
ing vistas and romantic forest scenes.
Theres as much beauty in a dead tree
as in a live one, he says. The thing
that inspires me can just be the shape
of a tree or a log on the ground. Its the
same with whole landscapestheres
beauty in the overlooked. And the great
thing about working on a landscape is
that you have so much stage to work
withyou get to work both on an inti-
mate level and on a vast level that you
often dont have when painting a still
life or figure.
Kegler has always gravitated toward
the landscape, and this is no surprise
considering his upbringing. My father
ran a small mom-and-pop hunting-and-
fishing store, he says. I think that
hunting, fishing, and camping can all
nurture an appreciation for nature. The
landscape itself was just a natural muse
for me. On top of this, his father even-
tually added a wildlife-art gallery to the
store, and Keglers older brothers went
into a range of creative professions,
from graphic design to fine art. There
was always a very creative atmosphere
in the house, he says.
Many of Keglers drawing efforts
are devoted to understanding what he
refers to as the anatomy of the land-
scape, which allows him to com-
prehend what he sees and translate
elements of the natural world into in-
vented compositions that appear en-
tirely real. The word anatomy refers
to the physical makeup of something
based on laws, the artist explains. In
human anatomy, this includes the laws
Anatomy
Understanding the
of the Landscape
OPPOSI TE PAGE
tude:
Kaaterskill
Falls
2010, ink and
gouache on
toned paper,
12 x 9.
Collection
Nathaniel
Stewart.
All artwork
this article
collection the
artist unless
otherwise
indicated.
DR_Kegler_Win12.indd 34 1/8/13 11:46 AM
of proportions, physiology, and phys-
ics. The landscape works on a similar
set of physical principles. At first it can
be very overwhelming, because its so
complexthere are temporal aspects
to it such as atmosphere and light that
are constantly changing. But once you
spend time with it, you begin to see the
recurrence within the chaos. It never
becomes predictable, exactly, but many
patterns and consistencies emerge.
For example, during my first year
in the Hudson River Fellowship, we
would go to the same spot every night
to paint the sunset, Kegler continues.
After a few weeks, we saw that some
things about the sunset never changed.
The dome of the sky, for one, was al-
ways the same. Thats a rulepart of
the landscapes anatomy. Once we knew
should be free to make that change, as
long as youre true to the character of
that tree and true to what the landscape
would really look like if that tree were in
that location.
Gaining this thorough understand-
ing of the landscape is a long undertak-
ing, and for Kegler, the pursuit is rooted
in drawing. He draws constantly and in
numerous media, both en plein air and in
the studio. Many of the artists drawings
fall into three groups: croquis, esquiss-
es, and tudes. A croquis is a thumbnail
sketch that establishes the images main
concept and sets the composition by in-
dicating the most important shapes and
values. An esquisse is a refined version of
the croquis: a more resolved thumbnail
with a refined value structure and some-
thing closer to the final composition. An
tude is a drawing of an individual natu-
ral element, such as a tree, a patch of un-
dergrowth, or a rock outcropping. Most
of Keglers tudes are not created for a
specific painting; rather, he keeps a li-
brary of these studies and refers to them
when he needs guidance during the pro-
cess of planning a larger work.
Kegler offers the following
advice for designing the com-
position of your landscape.
CONCEPT: The composi-
tion should be simple, and it
should be about one thing,
or concept. A deft artist can
make even the most mundane
subject interesting. As in po-
etry, how you say something is
as important as what you are
saying. Distill the elements to
speak to this objective.
SIMPLICITY: When in
doubt, keep it simple. Less is
more.
PLANNING: Take the time to
plan out your composition.
ASYMMETRY: Interesting
paintings have a harmonious
balance (not equal amounts)
of opposites, such as cool and
warm, dark and light, thick
and thin texture, detail and
ambiguity, and hard and soft
edges. The unequal treatment
of these elements is pleasing
to our senses.
FLOW: Seek an interesting
flow of eye movementavoid
a static composition.
ARMATURE: When I am
choosing an area to place a
subject of interest, I strive to
adhere to a harmonic com-
positional armature, such as
the golden mean. This and
other armatures are derived
from harmonic musical scales,
translating what is pleasing to
our ears to proportions that
are pleasing to our eyes.
that, we would pre-paint the dome of
the sky, and then when we went to paint
the sunset, it was just a matter of paint-
ing the cloud variances. The same can
be done with understanding a tree
through study, you learn how branches
form on a certain type of tree and how
it responds to the environment. Once
you acquire this knowledge of the land-
scapes anatomy, you gain freedom to
make contrived but convincing land-
scapes based on real experiences.
Most of Keglers paintings com-
bine aspects of real locations with a de-
gree of invention. I try to mirror the
Hudson River Schools approach, the
artist says. You want to be as true to
the spirit of the land as you can. But if a
tree would look much better moved two
feet to the right of where you see it, you
CREATING
a STRONG
COMPOSITION
should be free to make that change, as
long as youre true to the character of
that tree and true to what the landscape
would really look like if that tree were in
that location.
Gaining this thorough understand-
ing of the landscape is a long undertak-
ing, and for Kegler, the pursuit is rooted
in drawing. He draws constantly and in
numerous media, both en plein air and in
the studio. Many of the artists drawings
fall into three groups: croquis, esquiss-
es, and tudes. A croquis is a thumbnail
sketch that establishes the images main
concept and sets the composition by in-
dicating the most important shapes and
values. An esquisse is a refined version of
the croquis: a more resolved thumbnail
with a refined value structure and some-
thing closer to the final composition. An
tude is a drawing of an individual natu-
ral element, such as a tree, a patch of un-
dergrowth, or a rock outcropping. Most
of Keglers tudes are not created for a
specific painting; rather, he keeps a li-
brary of these studies and refers to them
when he needs guidance during the pro-
cess of planning a larger work.
that, we would pre-paint the dome of
the sky, and then when we went to paint
the sunset, it was just a matter of paint-
ing the cloud variances. The same can
be done with understanding a tree
through study, you learn how branches
form on a certain type of tree and how
it responds to the environment. Once
you acquire this knowledge of the land-
scapes anatomy, you gain freedom to
make contrived but convincing land-
scapes based on real experiences.
Most of Keglers paintings com-
bine aspects of real locations with a de-
gree of invention. I try to mirror the
Hudson River Schools approach, the
artist says. You want to be as true to
the spirit of the land as you can. But if a
tree would look much better moved two
feet to the right of where you see it, you
You want to take in the whole picture from the start, Kegler says. This is
where the importance of a thumbnail comes in. The thumbnail is a way to say
that your image is a statement about this subject, this lighting, this atmosphere,
this time of day. It reveals what it is that youre really trying to create a painting
about. With a pencil, you can get this down very quick in a thumbnail.
Keglers 3 Key Principles
of Landscape Drawing
Strive for the gesture and character
of your main concept from the start. 1
Work from big to small.
2
This follows the same concept as the previous principle. Start general,
then add the big details, and finally the little ones.
Once you have your concept, the quickest way to capture it is to get your
big values set, the artist says. Start with your big sky value, your big land
masses, flat planes, and any uprights. Once you have those large masses in,
everything else will fall into place.
Work from general to specific.
3
ABOVE LEFT
Croquis: Conceptual
Thumbnails
2012, graphite, 10 x 8.

Esquisse: Morning
Fog at North/South
LakeCatskills
2010, graphite, 3 x 3.

Kegler selects his instru-
ment depending on what he
hopes to accomplish in a giv-
en drawing. Graphite pencils
are the workhorse, he says.
Theyre my staple for basic
information gathering. I use them for
most of my thumbnail sketches, and
for some tudes, as well. They come
in many grades, which makes them
very versatile. And although there are
some limitations to the values they can
achieve, graphite still allows more vari-
ance in value structure than silverpoint,
for example.
Ink is another medium Kegler uses
frequently, and many of his ink draw-
ingsoften incorporating a little wash
or gouachestand alone as fully real-
ized works. Ink drawings, done with
pen or brush, can act as good indica-
tors of structureof a tree for example,
Kegler says. You can do crosshatching
TOP LEFT
tude: Schoharie Creek Rocks
Grid Study
2008, graphite, 7 x 10.

TOP RI GHT
Passing Front: Proverbs 16:20
2012, oil on linen, 32 x 24.

ABOVE
tude: Birch TrunkCatskills
2010, silverpoint on hand-toned paper,
11 x 8.

RI GHT
tude: Hemlock at Devils Kitchen
2008, ink and chalk on toned paper,
12 x 9.
Kegler selects his instru-
ment depending on what he
hopes to accomplish in a giv-
en drawing. Graphite pencils
are the workhorse, he says.
Theyre my staple for basic informa-
tion gathering. I use them for most of
my thumbnail sketches, and for some
tudes, as well. They come in many
grades, which makes them very versa-
tile. And although there are some limi-
tations to the values they can achieve,
graphite still allows more variance in
value structure than silverpoint, for
example.
Ink is another medium Kegler uses
frequently, and many of his ink draw-
ingsoften incorporating a little wash
or gouachestand alone as fully real-
ized works. Ink drawings, done with
pen or brush, can act as good indica-
tors of structureof a tree for exam-
ple, Kegler says. You can do cross-
hatching with them to show
form, and you can use washes
to indicate atmospheric space
and a sense of environment.
And ink also has a natural
crossover into painting.
Finally, Kegler is somewhat unique
among landscape artists in that he of-
ten works with metalpoint. He finds
that drawings done with various metal
tipssuch as silver, gold, and copper
are perfect for capturing nuances of
value and detail, and he uses them for
studies that, like his ink drawings, also
stand as independent works of art. Ink
may be the most useful medium for
sketching, but I think metal tip is the
most beautiful, he says. The drawings
take on a warm tone and a jewel-like
sheen. Metalpoint poses significant
challengesit doesnt offer a full val-
ue range, for one, and it cant be erased.
But these difficulties can be overcome,
and the results are worth it. You can-
not get detail that fine with any other in-
strument, the artist says emphatically.
Kegler believes a drawing should
serve two purposes. It should be an
informative study and also an aesthetic
piece of art, he says. Im always trying
to create a beautiful piece at the same
time that Im trying to get information.
A quick look at Keglers wide portfolio
of drawings reveals that the artist is
equally successful in both of these pur-
suits. Even the parts of the drawings
that are explicitly in-
tended to convey infor-
mationthe notations,
the grids illustrating
surface formwork
to enhance the imag-
es beauty by revealing
both the science and
art that underscores the
natural world.
tude: Fawns
LeapCatskills
2008, ink and
gouache on toned
paper, 9 x 12.
TURN THE
PAGE FOR
A DEMO OF
KEGLERS
PROCESS

From Thumbnail to Canvas
Croquis
In these initial rough sketches, Kegler focused on his
overall concept and laid in the largest masses.
Step 2
First, Lathem laid in the
initial washes, working
broadly on wet paper.
Esquisse
In this refined version of the croquis, the artist
resolved the composition and further established
the images armature and value structure.
tudesTrees
Kegler referred to previously completed studies of oaks, white
pines, and red pines for information about the structure of the
trees he planned to incorporate into his painting.
Kegler first started thinking about the concept for the painting ThunderstormCatskill Park: Psalm 9:910
during his first summer in the Hudson River Fellowship. When he returned to the fellowship for a second
summer, he went with a list of things he needed to finish the piecefor example, he wanted to find a
suitable rock structure to place in the paintings foreground. His preparation for the painting included
drawings made specifically for this project, as well as drawings already in his reference library.
tudesLandscape Elements
Studies of rock formations and larger views of the
landscape.
Tonal Grisaille
Study
Once the plan for the
painting was complete,
Kegler painted this
grisaille, which includes
all the major elements
of the composition and
sets the images value
structure.
The Finished
Painting
ThunderstormCatskill Park:
Psalm 9:910
2009, oil on linen, 24 x 36.
Courtesy Cavalier Galleries,
Greenwich, Connecticut.
ABOUTTHEARTIST
Thomas Kegler hails from western New York, and
many of his paintings depict the landscape of his
home state. He has participated in the Hudson
River Fellowship as both a student and an instruc-
tor, and he teaches workshops throughout New
York state. Recently, he produced an
instructional documentary titled Painting en
Plein Air: Resolving the Landscape, which is
available through his website. He is represented
by John Pence Gallery, in San Francisco;
Beals & Abbate, in Santa Fe; Meibohm Fine Arts,
in East Aurora, New York; Oxford Gallery, in
Rochester, New York; Beacon Fine Art, in Red
Bank, New Jersey; and Cavalier Galleries, in
Greenwich, Connecticut. For more information,
visit www.thomaskegler.com.
tudesTrees
Kegler referred to previously completed studies of oaks, white
pines, and red pines for information about the structure of the
trees he planned to incorporate into his painting.
tudesLandscape Elements
Studies of rock formations and larger views of the
landscape.
Tonal Grisaille
Study
Once the plan for the
painting was complete,
Kegler painted this
grisaille, which includes
all the major elements
of the composition and
sets the images value
structure.
why we
DR_Academy_Win13.indd 42 1/8/13 11:57 AM
For many artists, drawing is a way to develop fundamental
skills of design and perception and a tool for planning
work in other media. Because so many motives inform the
act of drawing, we decided to step back for a moment to
consider some of its many functions.
We asked several instructors at the American Academy
of Art, in Chicago, to share their thoughts on the impor-
tance of drawing in an artists education. Their answers
shed light on many of the ways that drawing can advance
ones practice.
DRAW
why we
Emily
by Joel Pace,
charcoal.
All artwork courtesy
American Academy
of Art, Chicago,
Illinois.
What is the importance of
drawing for an artist whose
goal is to work in painting,
sculpture, or something
other than drawing itself?
MAT BARBER KENNEDY: For every abso-
lute statement about what defines
drawing or what every artist needs,
there will be just as many objections
and contrary examples of success-
ful contemporary artists who cannot
draw. But within my own practice,
and as a studio teacher at a school
with a strong commitment to foun-
dational tools, I see drawing as a core
language with which to explore and
develop ideas. Through drawing we
establish a sensibility and an under-
standing of the principles of line and
tone, contrast and emphasis, focus
and balance. Visual artists working
outside of painting and drawing need
to speak with a visual vocabulary and
develop sensitivity in their medium,
which a study of drawing will provide.
TOM HERZBERG: For many artists, no
matter how the finished piece will
look, it often begins with a drawing.
In traditional media, drawing can be
very important, especially with rep-
resentational art, but many abstract
painters rely on drawing as part of
the expression. Every sculptor I know
relies very heavily on drawing as a key
element in the conceptualization and
realization of the finished piece, and
they often exhibit drawings along-
side the sculptures or installations.
JOEL PACE: In representational paint-
ing, the advantages of a strong
drawing foundation are obvious.
Getting an accurate drawing on the
canvas quickly saves time that can be
spent on other aspects of the paint-
ing. If a strong understanding of
light and shade is developed in draw-
ing classes, the students can better
understand and depict them in paint.
In regards to sculpture, I find
that my drawing students tend
to be very enthusiastic about the
sculpture classes that are part of
their post-foundations curriculum
at the Academy. I dont know that
drawing ability directly contributes
to success in sculpture, but I think
that devotion to the depiction of
form leads to an appreciation of
the nature of sculpture. The three-
dimensional representation of the
figure can be a thrilling experience
for those who are already tuned in
to the beauty of the human form.
TINA ENGELS: For many, drawing is the
core of ones process, in the purest
tactile form. One day we rise and our
practice insists on a crosscurrent, find-
ing expression in color, paint, or other
media such as the graphic novel and
I T S ALL ABOUT
GESTUREWHEN
TELLING A STORY,
I T S WHAT THE FIGURE
I S DOING THAT S
IMPORTANT, NOT
WHO THE FIGURE I S.
TOM HERZBERG
develop ideas. Through drawing we
establish a sensibility and an under-
standing of the principles of line and
tone, contrast and emphasis, focus
and balance. Visual artists working
outside of painting and drawing need
to speak with a visual vocabulary and
develop sensitivity in their medium,
which a study of drawing will provide.
TOM HERZBERG: For many artists, no
matter how the finished piece will
look, it often begins with a drawing.
In traditional media, drawing can be
very important, especially with rep-
resentational art, but many abstract
painters rely on drawing as part of
the expression. Every sculptor I know
relies very heavily on drawing as a key
element in the conceptualization and
realization of the finished piece, and
they often exhibit drawings along-
side the sculptures or installations.
JOEL PACE: In representational paint-
ing, the advantages of a strong
drawing foundation are obvious.
Getting an accurate drawing on the
canvas quickly saves time that can be
spent on other aspects of the paint-
ing. If a strong understanding of
light and shade is developed in draw-
ing classes, the students can better
understand and depict them in paint.
In regards to sculpture, I find
that my drawing students tend
to be very enthusiastic about the
sculpture classes that are part of
their post-foundations curriculum
at the Academy. I dont know that
drawing ability directly contributes
to success in sculpture, but I think
that devotion to the depiction of
form leads to an appreciation of
the nature of sculpture. The three-
dimensional representation of the
figure can be a thrilling experience
for those who are already tuned in
to the beauty of the human form.
TINA ENGELS: For many, drawing is the
core of ones process, in the purest
tactile form. One day we rise and our
practice insists on a crosscurrent, find-
ing expression in color, paint, or other
media such as the graphic novel and
LEFT
Italian
Cottage
by Tina
Engels, oil on
linen.
OPPOSI TE
PAGE
Dimetrodon
by Tom
Herzberg,
gouache.
digital work. Drawing with paint
not in the sense of coloring in,
although that can work as wellis
one example of such a desirable goal.
There is also the reverse of this:
the sculptor, painter, or photogra-
pher who returns to drawing to ask
questions related to other media.
Cartier-Bresson, for instance, devoted
the last years of his life to work with
drawing instead of photography.
Although drawings were once
perceived as studies, they no
longer function with such singular
intention, hidden away in closets
until the final works emerge. Visceral,
intelligent mark making is an
activity related to observation and
can also act separately from looking.
It may seek to find place in the realm
of the imagined or the constructed.
What role do you think
drawing should play in
an artists education?
MAT BARBER KENNEDY: Drawing is an
essential bedrock for my classes. In
my painting classes, I focus on line
quality from the outset and encour-
age exploration and presentation of
ideas before the commencement of
final artwork. I encourage watercolor
students to consider the transpar-
ency of the medium and to use
line in a way that contributes to the
character of the finished work.
TINA ENGELS: As preliminary instruc-
tion to any art form, drawing is
invaluable as a way of thinking
and exploring. Plainly stated, when
thinking visually, drawing lowers
the risk of failure. A drawing asks
questions of the creator and assists
in the development of portraying
a desired interaction. Is this depic-
tion stylized? Carefully perceived?
Is there an emotional component or
cultural discussion? Is the subject
biographical? Bringing questions
into ones work leads to discovery.
There was a time when people
espoused the requirement of
accuracy in drawing as a means to
making great paintingsin some
places, this is still the case. But what
is accuracy? How is this defined? Do
we repeat technical ability or breathe
life into the work? I ask my students to
suspend disbelief. I encourage them
to make mistakes and to fail so that,
the next time, they fail better.
They learn that there is something
to taking these experiences in their
toolbox beyond the classroom and
into the studio. In this way, they
learn to coach themselves as artists.
TOM HERZBERG: I dont think you can
teach an artist much if you dont
teach some kind of drawing. My
drawing lessons are designed to
demonstrate fundamen-
tal decision making with
regard to working with the
figure, whether it has to do
with anatomical decisions,
proportions, lighting, or
how to work a figure into a
composition. When draw-
ing from the model, I teach
students to exaggerate their
poses. Its all about ges-
turewhen telling a story,
its what the figure is doing
thats important, not who
the figure is. Its important
that my students under-
stand how the body works;
they need to learn from
observation and apply that
knowledge. They need to
be able to anticipate so that
when they are working with
a model, they can pose the
model to achieve a particu-
lar effect and not just react
to what the model is doing.
JOEL PACE: The Academys
philosophy, like my own,
is that drawing should be
a major element of the
training of every artist,
A DRAWING ASKS QUESTIONS OF THE CREATOR AND ASSI STS IN THE
DEVELOPMENT OF PORTRAYING A DESIRED INTERACTION. I S THI S DEPICTION
STYLI ZED? CAREFULLY PERCEI VED? I S THERE AN EMOTIONAL COMPONENT
OR CULTURAL DI SCUSSION? I S THE SUBJECT BIOGRAPHICAL? BRINGING
QUESTIONS INTO THE WORK LEADS TO DI SCOVERY. TI NA ENGEL S
ABOVE
Untitled
by Randy Vreeland, watercolor.
OPPOSI TE PAGE
Tall Bus
by Lucas Bianchi, digital drawing.
TINA ENGELS: As preliminary instruc-
tion to any art form, drawing is
invaluable as a way of thinking
and exploring. Plainly stated, when
thinking visually, drawing lowers
the risk of failure. A drawing asks
questions of the creator and assists
in the development of portraying
a desired interaction. Is this depic-
tion stylized? Carefully perceived?
Is there an emotional component or
cultural discussion? Is the subject
biographical? Bringing questions
into ones work leads to discovery.
There was a time when people
espoused the requirement of
accuracy in drawing as a means to
making great paintingsin some
places, this is still the case. But what
is accuracy? How is this defined? Do
we repeat technical ability or breathe
life into the work? I ask my students to
suspend disbelief. I encourage them
to make mistakes and to fail so that,
the next time, they fail better.
They learn that there is something
to taking these experiences in their
toolbox beyond the classroom and
into the studio. In this way, they
learn to coach themselves as artists.
TOM HERZBERG: I dont think you can
teach an artist much if you dont
teach some kind of drawing. My
drawing lessons are designed to
demonstrate fundamen-
tal decision making with
regard to working with the
figure, whether it has to do
with anatomical decisions,
proportions, lighting, or
how to work a figure into a
composition. When draw-
ing from the model, I teach
students to exaggerate their
poses. Its all about ges-
turewhen telling a story,
its what the figure is doing
thats important, not who
the figure is. Its important
that my students under-
stand how the body works;
they need to learn from
observation and apply that
knowledge. They need to
be able to anticipate so that
when they are working with
a model, they can pose the
model to achieve a particu-
lar effect and not just react
to what the model is doing.
JOEL PACE: The Academys
philosophy, like my own,
is that drawing should be
a major element of the
training of every artist,
for many reasons. One is tradition:
Particularly in regards to the figure,
the act of drawing is an experi-
ence shared by artists for centuries.
Students are replicating the pro-
cesses of Raphael, Rubens, and
Rembrandt. Figure drawing is a kind
of initiation into the artist club.
A second reason is design:
When students are concentrating
on representing people and objects
through drawing, they are learning
valuable lessons in design. Setting
the figure in the page, cropping,
balancing values, focusing interest,
line dynamics, and storytelling are
all issues that go beyond drawing.
Third, discipline: Students grow
up in their beginning drawing
classes. They learn to not be satisfied
with their first attempt or idea and
to elevate their expectations as to
the quality of their work. Through
drawing, students learn to accept and
respond to criticism, which
is one of the most valuable
lessons of art school.
Fourth, objectivity:
Drawing is an ideal training
tool for students because it
can be judged objectively
at least in a school that
focuses on representational
art. Either the drawing looks
like the object or figure in
question, or it doesnt.
Fifth, drawing is the
basic language for artists,
as math is for scientists.
A student who majors
in graphic design may
eventually become an
art director and need to
be able to sketch when
presenting ideas to clients.
Finally, the future is
unknown. Students may
start their college career
with a specific direction
in mind, but that direction
often changes during school
or after graduation. So even
if students think they will
not need to draw in their
careers, it is sensible to have
drawing in their skill set.
A DRAWING ASKS QUESTIONS OF THE CREATOR AND ASSI STS IN THE
DEVELOPMENT OF PORTRAYING A DESIRED INTERACTION. I S THI S DEPICTION
STYLI ZED? CAREFULLY PERCEI VED? I S THERE AN EMOTIONAL COMPONENT
OR CULTURAL DI SCUSSION? I S THE SUBJECT BIOGRAPHICAL? BRINGING
QUESTIONS INTO THE WORK LEADS TO DI SCOVERY. TI NA ENGEL S
DR_Academy_Win13.indd 47 1/8/13 12:00 PM
What are some exercises or pro-
ductive ways that you encourage
your students to use drawing in
relation to work in other media?
TOM HERZBERG: I encourage my stu-
dents to draw all of the time. A lot of
what we do is figure-based, so Im
always trying to get the students to
work from observation. They might pay
attention to how a face looks, but what
about hairstyles? What do the shoes
look like? You cant draw hands? Then
draw them until you figure them out!
I teach several classes relating to
illustration, and its important to me that
my students dont just think of drawing
as a stage or as practice but think of it as
an option. There is no reason why they
cant conceive of an illustration solution
in purely drawing formthey dont
need to always be thinking of painting.
MAT BARBER KENNEDY: I ask students
to draw a cup from their imagina-
tion. Then, I have them draw the cup
on a table. Then, the room with the
table in it. Then, the room through a
porthole window; then the space sta-
tion with the porthole; then the space
station orbiting the earth. Its a simple
THROUGH DRAWING WE ESTABLI SH A
SENSIBILI TY AND AN UNDERSTANDING OF THE
PRINCIPLES OF LINE AND TONE, CONTRAST
AND EMPHASI S, FOCUS AND BALANCE. VI SUAL
ARTI STS WORKING OUTSIDE OF PAINTING
AND DRAWING NEED TO SPEAK WI TH A VI SUAL
LANGUAGE AND DEVELOP A VI SUAL SENSI TI VI TY
IN THEIR MEDIUM, WHICH A STUDY OF
DRAWING WILL PROVIDE. MAT BARBER KENNEDY
half-hour exercise that takes students
from drawing the intimate to the galac-
tic and demands that they addresses
surface, space, light, content, and
composition through line and tone.
What role does drawing play
in your own artwork?
JOEL PACE: In recent years I have been
concentrating almost entirely on draw-
ing, working in charcoal and Cont.
As a drawing teacher, I find that the
focus on the figure that drives my
classes has taken over in my personal
About the
AMERICAN ACADEMY OF ART

Since 1923, the American Academy of Art, in Chicago, has been
one of the countrys leading art schools, and one that has often
emphasized drawing, design, illustration, and the classical artistic
tradition. All students participate in a foundation program that
teaches core visual-art skills, and the school awards B.F.A.s in
illustration, graphic design, life drawing, and painting, among other
programs. For more information, visit www.aaart.edu.
Mat Barber Kennedy is a watercolor painter who teaches water-
color and figure drawing at the Academy. For more information,
visit www.matbarberkennedy.com.
Tina Engels is a painter who teaches life drawing and painting at
the Academy. For more information, visit www.tinaengels.com.
Tom Herzberg is an artist, illustrator, and the chair of the Fine Art
Department at the Academy. He teaches watercolor, drawing, and
several classes related to illustration. For more information, visit
www.tomherzberg.com.
Joel Pace is a painter who has taught numerous subjects at the
Academy, including drawing, painting, anatomy, and art history.
For more information, visit www.joelpaceart.com.
ABOVE
Arezzo
by Mat Barber Kennedy, graphite.
OPPOSI TE PAGE
Ken Kee
by Amoreena Tarvas, watercolor.
What are some exercises or pro-
ductive ways that you encourage
your students to use drawing in
relation to work in other media?
TOM HERZBERG: I encourage my stu-
dents to draw all of the time. A lot of
what we do is figure-based, so Im
always trying to get the students to
work from observation. They might pay
attention to how a face looks, but what
about hairstyles? What do the shoes
look like? You cant draw hands? Then
draw them until you figure them out!
I teach several classes relating to
illustration, and its important to me that
my students dont just think of drawing
as a stage or as practice but think of it as
an option. There is no reason why they
cant conceive of an illustration solution
in purely drawing formthey dont
need to always be thinking of painting.
MAT BARBER KENNEDY: I ask students
to draw a cup from their imagina-
tion. Then, I have them draw the cup
on a table. Then, the room with the
table in it. Then, the room through a
porthole window; then the space sta-
tion with the porthole; then the space
station orbiting the earth. Its a simple
work, as well. In the past, my work
was more content-oriented. Now, I
find that Im most fulfilled by work-
ing from the figure. So the role of
drawing in my work is paramount.
TINA ENGELS: As a painter, my work is
rooted in drawing and the act of see-
ing, with all its oddities. At some point,
I realized that owning the drawing
component in my paintings is critical to
the work. For some years I worked with
drawings and always felt they were like
paintings, and through this process I
became more interested in painting.
TOM HERZBERG: I work mainly in
gouache and acrylic, and in my work
drawing is hugely importantI think
of my paintings as colored draw-
ings. Im not a typical watercolorist;
my work is not really that painterly.
I try to pursue drawing in some
form each day, usually in my role
as an instructor at the Academy.
MAT BARBER KENNEDY: I am a painter
working mainly with watercolor and
other water-based media, and drawing is
an integral component of my work. I see
my paintings as compositional arrange-
ments of line and tone and color, some
of which is applied with a brush and
some with a pencil or pen, all contribut-
ing to the quality of the whole. I work
loosely with watercolor and capitalize
on its transparency so that the line work
remains apparent even if it is over-
painted. In fact, I often celebrate areas of
misregistration, where the paint and
the line dont match up, so that each has
its own statement about the shape of an
element in the piece. I frequently paint
first and draw second so that my paint
marks are not constrained by a need to
stay within the lines. v
half-hour exercise that takes students
from drawing the intimate to the galac-
tic and demands that they addresses
surface, space, light, content, and
composition through line and tone.
What role does drawing play
in your own artwork?
JOEL PACE: In recent years I have been
concentrating almost entirely on draw-
ing, working in charcoal and Cont.
As a drawing teacher, I find that the
focus on the figure that drives my
classes has taken over in my personal
ABOVE
Arezzo
by Mat Barber Kennedy, graphite.
OPPOSI TE PAGE
Ken Kee
by Amoreena Tarvas, watercolor.
In this new series, we ask leading art institutions to select some of the best
drawings from their collections and discuss what artists today can learn from
these masterworks. We recently visited the Crocker Art Museum, in Sacramento,
where William Breazeale, the museums curator of European art, chose 10
amazing drawings that take us from Mannerist Italy to the bohemian salons
of 19
th
-century France. Here, Breazeale explains why these drawings are
beautiful, intriguing, and why they rank among his personal favorites.
Im drawn to this work because its
such a wonderful characterization,
says Breazeale. You can really feel
the elephants sagging skin, its
fapping ears, and its trunk caught
in midair. And by showing these
diferent views, the drawing shows
more than an ordinary profle could.
Savery also creates this fantasy
landscape, with date palms and
shells. Its certainly not what he had
in front of him, but it creates a nice
exotic context for the image.
Elephant and Monkey is also
notable for its technical virtuosity.
All this is done only in black chalk,
with brown wash for some of the
shading, and its very believable,
Breazeale says. Just look at the
wrinkles on the elephants neck or
its beady eye staring at us. It shows
what black chalk can do when its
fnely sharpened.
There is also the mystery of the
drawings origin. The question,
Breazeale says, is where would this
artist have seen an elephant and a
monkey? There are several theories.
His uncle, Roelandt, who was also
an artist, worked in Prague at the
court of Rudolf II, where there was
a menagerie. Jan also worked for
Roelandt in Amsterdam, and the
city was a port for exotic things
from all over the world, including
animals.
Elephant and Monkey,
by Jan Savery
ca. 15891654, black chalk and brush-and-brown-
wash on cream laid paper, 5 x 8
3
8. E. B. Crocker
Collection. All artwork this article collection the
Crocker Art Museum, Sacramento, California.
Curators
Choice
1
DR_CuratorsChoice_Crocker_Win13.indd 50 1/10/13 10:37 AM
Im drawn to this work because its
such a wonderful characterization,
says Breazeale. You can really feel
the elephants sagging skin, its
fapping ears, and its trunk caught
in midair. And by showing these
diferent views, the drawing shows
more than an ordinary profle could.
Savery also creates this fantasy
landscape, with date palms and
shells. Its certainly not what he had
in front of him, but it creates a nice
exotic context for the image.
Elephant and Monkey is also
notable for its technical virtuosity.
All this is done only in black chalk,
with brown wash for some of the
shading, and its very believable,
Breazeale says. Just look at the
wrinkles on the elephants neck or
its beady eye staring at us. It shows
what black chalk can do when its
fnely sharpened.
There is also the mystery of the
drawings origin. The question,
Breazeale says, is where would this
artist have seen an elephant and a
monkey? There are several theories.
His uncle, Roelandt, who was also
an artist, worked in Prague at the
court of Rudolf II, where there was
a menagerie. Jan also worked for
Roelandt in Amsterdam, and the
city was a port for exotic things
from all over the world, including
animals.
One of the difcult and interesting things about studying drawings, Breazeale
says, is that youre often dealing with very basic questions. Who drew it? How
was it made? What was its purpose? Those things can be extremely difcult
to sort out. Thats one of the challenges of studying drawing, but also one of
the pleasures. This self-portrait is an example of a drawing that poses such
challenges. We know that its from the beginning of the 17
th
century, but it has
not been entirely decided who drew it. One possibility is Giovanni Baglione, a
painter in Caravaggios circle. And he was made a knight of the order of Christ,
which would explain the red cross on the artists shoulder.
I fnd this an arresting image for several reasons, Breazeale continues. The
frst is the pose: The sitter is addressing the viewer, as if he has just turned from
whatever hes doing. Its an interesting poseand a difcult one, which requires
a lot of foreshortening in order to look believable. Theres also an intriguing
contrast in the shading. The volumes of the facethe nose, the cheeksare
stumped or blended somehow. But as you move into the clothing and hair, that
starts to break up and the shading is done in a completely diferent way. Youre
left with smooth volumes for the skin and very loose volumes everywhere else.
Elephant and Monkey,
by Jan Savery
ca. 15891654, black chalk and brush-and-brown-
wash on cream laid paper, 5 x 8
3
8. E. B. Crocker
Collection. All artwork this article collection the
Crocker Art Museum, Sacramento, California.
1
Self-Portrait,
attributed to Giovanni Baglione
ca. 15661643, black and red chalk with touches of white on blue laid paper, 9 x 7.
E. B. Crocker Collection.
2
Jouvenet was an instructor at the prestigious French Academy, and he likely
created this drawing as he worked alongside his students in the Academys
life-drawing class over the course of numerous sessions. This drawing
is interesting for being a sort of French Academy hybrid, Breazeale says.
Academy models often posed on boxes with drapery below them, and
thats whats going on here. But what makes it a hybrid is the setting.
Jouvenet takes whats happening in the life-drawing class and imagines
something outside itthese classical columns and trees. Another excellent
thing about this drawing is the way the artist picks up the light with the
highlights. Without them you wouldnt really understand the ribs or the
leg; he does that solely with the white chalk. And of course, there is the
great dramatic pose. Often the poses set by the professors were meant to
be used in a history painting, and this fgure looks like he might be a fallen
warriorcertainly, he is someone in extremis.
Reclining Nude, by Jean Jouvenet
1682, black and white chalk on brown laid paper, 15
3
8 x 21
7
16. E. B. Crocker Collection.
3
DR_CuratorsChoice_Crocker_Win13.indd 52 1/8/13 12:17 PM
What draws me to this image is something technical: the fact that its
done entirely with the brush, Breazeale says. You can see how the
artist uses various shades of wash, how he works with drybrush in some
places and with a fully wet brush in others. Its just wonderful. And he
manages to get so much into this relatively small space. First, you have
the hunterIm not sure what hes doing, but it looks like he might be
unwrapping something. Then there is his rife leaning against a bush;
his catch of two or three birds and a hare; and his hunting dogs looking
on with their great expressions. And all this is done only with wash. Its
useful, I think, to be reminded that even back in the 17
th
century, artists
were working with self-imposed limitations such as this, which can result
in wonderful images.
The Hunter, by Juriaen Jacobsen
ca. 16251685, brush-and-gray-wash on cream laid paper, 5 x 11. E. B. Crocker Collection.
4
Maes was a court painter who accompanied the Dutch stadtholder
Willem III to England, and here he shows us a diferent side of life at
court with this scene of pleasure and entertainment, Breazeale says.
I love how gestural this drawing ishe creates this entire scene with
zigzags that are all pretty parallel, running from the lower left to the
upper right. By building up these squiggles he gives us quite a deep
landscape. He also gives a wonderful sense of action and of the chase
with just a few lines, he is able to capture the way that dogs move, that
horses move, that people run. Even though the medium doesnt ofer a lot
of contrastits hard to get very dark darks in graphiteMaes still gives
us this very believable scene working within that limitation.
6
What I love about this drawing is that its so much about the swoop of
drapery, says Breazeale. The cavaliers cloak is caught on his sword, which
creates this very graceful curve that both covers the body and defnes it. Youll
also notice that little bit of shadow at the bottom. Just those few lines give
the fgure the ground to stand on. Its a subtle way of doing a shadow, but it
creates depth and makes the drawing that much more believable.
This drawing also has signifcance as part of the Crockers ever-expanding
collection. The bulk of the Crockers holdings were acquired in the 19
th

century, during the institutions early years, and today the museum is
continually looking to fll gaps in its collection. A Standing Cavalier was
acquired only four years ago, and it stands as one product of the work that
the Crocker is constantly doing to expand its formidable collection.
A Standing Cavalier, Seen From Behind,
by Jacopo Confortini
ca. 16021672, red chalk on cream laid paper, 8 x 5. Crocker Art Museum purchase
with funds from the Anne and Malcolm McHenry Fund.
5
Maes was a court painter who accompanied the Dutch stadtholder
Willem III to England, and here he shows us a diferent side of life at
court with this scene of pleasure and entertainment, Breazeale says.
I love how gestural this drawing ishe creates this entire scene with
zigzags that are all pretty parallel, running from the lower left to the
upper right. By building up these squiggles he gives us quite a deep
landscape. He also gives a wonderful sense of action and of the chase
with just a few lines, he is able to capture the way that dogs move, that
horses move, that people run. Even though the medium doesnt ofer a lot
of contrastits hard to get very dark darks in graphiteMaes still gives
us this very believable scene working within that limitation.
The Stag Hunt, by Dirk Maes
ca. 16591717, graphite on buff laid paper, 8
1
8 x 12. E. B. Crocker Collection.
6
This portrait really gives
you a sense of character and
personality, and I fnd the
attitude of the drawing very
engaging, says Breazeale.
Cochin was a wonderful
portraitist, and also an
engraver. He was actually the
engraver to the king, as well
as the keeper of the kings
drawings. The clich about
engravers drawings is that
they tend to be done in pen-
and-ink and heavily hatched
that they look like engravings,
essentially. But thats not what
was done here at all.
With the sitters hands
under his clothes, he appears
very casual and approachable,
Breazeale continues. But
in terms of technique its
rather highly fnished. You
can think of it as a sort of
contrast between formality
and informality.
What I love about this drawing is that Prestel was in 18
th
-century
Nuremberg, yet this drawing looks like it could have been done yesterday,
Breazeale says. The interaction between the chalk and the ink, and the
angularity he uses when working with the ink, make it a very modern
imageeven though hes wearing a peruke. The way that Prestel focuses
detail and attention on the features of the face is also notable. Look at the
area next to the chin, where hes put a shadow, Breazeale says. He doesnt
show you the shoulder, but you still know that is the shadow against the
shoulder. He provides just enough information.
Portrait of the
Artist Parrocel,
by Charles-
Nicolas Cochin
the Younger
ca. 1715 1790, black chalk on buff laid
paper, 13 x 8. Crocker Art Museum
purchase.
8
Self-Portrait, by Johann Gottlieb Prestel
ca. 17391808, black chalk, brush-and-black-ink, gray wash, and white chalk, 12 x 8
9
16.
7
This portrait really gives
you a sense of character and
personality, and I fnd the
attitude of the drawing very
engaging, says Breazeale.
Cochin was a wonderful
portraitist, and also an
engraver. He was actually the
engraver to the king, as well
as the keeper of the kings
drawings. The clich about
engravers drawings is that
they tend to be done in pen-
and-ink and heavily hatched
that they look like engravings,
essentially. But thats not what
was done here at all.
With the sitters hands
under his clothes, he appears
very casual and approachable,
Breazeale continues. But
in terms of technique its
rather highly fnished. You
can think of it as a sort of
contrast between formality
and informality.
Portrait of the
Artist Parrocel,
by Charles-
Nicolas Cochin
the Younger
ca. 1715 1790, black chalk on buff laid
paper, 13 x 8. Crocker Art Museum
purchase.
The fragile, nervous pen line that the artist uses in
this drawing to create the curtains, drapery, and clouds
is terrifc, Breazeale says. All of the folds become
so believable when he uses that very fne line. Its
very subtle. The only areas of deep shading are the
narrow bends at the right of the fgures, which create
an almost raking light coming in from the left. This
gives you those deep shadows and adds volume to
everything. Its a clue that the drawing was intended
to be a relief, although I dont know whether it was
executed or not.
This work is also interesting for showing a differ-
ent way of depicting the classical world, Breazeale con-
tinues. It looks back to this time and culture in a some-
what archeological sense. Moitte looks closely at what
the classical world did and what it looked like, and he
does so in a more direct way than many of the artists
who preceded him.
THE CROCKER
ART MUSEUM, IN
SACRAMENTO, IS
ONE OF CALIFORNIAS LEADING ART
INSTITUTIONS, WITH EXTENSIVE
COLLECTIONS OF DRAWINGS,
PAINTINGS, CERAMICS, AND
PHOTOGRAPHS FROM AROUND
THE WORLD. FOR MORE INFORMATION,
VISIT WWW.CROCKERARTMUSEUM.ORG.
ABOUT THE
CROCKER
Libation Scene, by Jean-Guillaume Moitte
ca. 17461810, pen-and-brown-ink and brush-and-brown-wash over traces of black chalk on cream laid paper, 13 x 12
11
16.
9
With portraits, its always
difcult to be sure who
the subject is unless there
is an inscription or other
documentation, says Breazeale.
We dont have records saying
that this drawing is of Madame
Sabatier, a salon hostess who was
at the center of the literary and
artistic world of Paris in the mid-
19
th
century. But from the other
images Ive seen of her, its very
believable that this is a portrait
of her. And this makes the
presentation interesting, because
Couture doesnt give any sense
of transgression or bohemian
behavior, which you might expect
to see in a portrait of someone
from Madame Sabatiers milieu.
The drawing is also visually
very interesting, Breazeale
continues. The way Couture
deals with the features and hair
is amazing. He doesnt draw
every hair, but he really gives it
a texturea very 1840s coifure
with that wave and the fne
hairs at the side of the face and
neck. And then, there is the
earring. Its Coutures device for
creating volume in the drawing.
The earring accounts for the
only white chalk in the image,
aside from maybe a dusting on
the volumes of the face. That
earring brings things forward
into spaceif you cover up
the earring, I think the entire
drawing gets very fat. Its
wonderful how something so
subtle can entirely change the
way you experience a drawing
and I think thats a useful thing to
be reminded of. v
THE CROCKER
ART MUSEUM, IN
SACRAMENTO, IS
ONE OF CALIFORNIAS LEADING ART
INSTITUTIONS, WITH EXTENSIVE
COLLECTIONS OF DRAWINGS,
PAINTINGS, CERAMICS, AND
PHOTOGRAPHS FROM AROUND
THE WORLD. FOR MORE INFORMATION,
VISIT WWW.CROCKERARTMUSEUM.ORG.
ABOUT THE
CROCKER
Portrait of Mme.
Sabatier, by
Thomas Couture
ca. 18151879, black crayon with
touches of white chalk on faded blue laid
paper, 20 x 16
7
16. Crocker Art Museum
purchase with funds from the Maude T.
Pook Acquisition Fund.
10
FUNDAMENTALS
OF PROPORTI ON
DRAWING
FUNDAMENTALS
Using this easy technique, you can measure key proportions in the early stages
of drawing and be sure you have an accurate foundation from which to work.
B Y J O N DE MA R T I N
OPPOSI TE PAGE
ILLUSTRATION 1
The Proportions of
the Human Body
According to
Vitruvius (The
Vitruvian Man)
by Leonardo da Vinci,
pen-and-brown-ink,
brush-and-brown-
wash, and metal-
point, 13 x 9
5
8.
Collection Gallerie
dellAccademia,
Venice, Italy.
In addition to apply-
ing basic proportional
measurements, it is
important to have
some knowledge of
classical proportions
a topic Leonardo
investigated in his
famous drawing.
Knowledge of classi-
cal proportions helps
you avoid serious
distortions, and be-
cause nobody exactly
matches the classical
ideal, it also allows
you to appreciate the
differences that make
each body unique.
1
DR_Fundamentals_Win13.indd 60 1/8/13 12:29 PM
Using this easy technique, you can measure key proportions in the early stages
of drawing and be sure you have an accurate foundation from which to work.
B Y J O N DE MA R T I N
STARTING OUT: SETTING THE
EXTREMI TIES OF THE FIGURE
One of the first things the figure artist
must consider is the size and placement
of the subject on the page. Remember
that it is vital to compose your figure
in relation to the overall page and not
make the figure so small that it f loats
against the background. Inversely, the
figure shouldnt be so large that it goes
beyond the limits of the page or touches
the top or bottom of the sheet, creating
uncomfortable tangents.
In classical academic life drawing,
on a typical 18"-x-24" page, its advisable
to fit the figure approximately " to 1"
from the top and bottom of the page.
See Illustration 2 for a typical academic
life-drawing format. Working large in
this way not only fills the page compo-
sitionally but also allows you to see pro-
portional relationships more easily.
Good proportion is based on divi-
sion; bad proportion is based on addi-
tion and subtraction. In other words,
we first need to establish the outer di-
mensions of our subject and keep this
size unchangeable. Then, we can con-
sider the correct division of the parts
within the whole. When an artist adds
to or subtracts from the outer dimen-
sions of the subject in an attempt to re-
pair incorrect proportions, the drawing
can fall into a continual state of f lux
with proportions spiraling out of con-
trol and figures that dont even fit on
the page. But with a little discipline, you
can avoid this.
The first marks you make should in-
dicate the extremities of your subjects
I
n order to appear lifelike, a figure drawing needs to accurately represent
the proportions of the model. And in order to represent the figure in cor-
rect proportion, we need sound measurement strategies that will allow
us to check what weve drawn for accuracy. Such basic measurements
are not difficult to make, and in this article, we will look at a simple tech-
nique that allows you to verify that the most important proportions of your figure
drawing are correct. By checking your drawing with this technique early in the pro-
cess, you can then continue to work with confidence that your drawing truthfully
captures the most important proportions of the figure.
longest dimension. For a standing fig-
ure, these marks should define the up-
permost and lowermost points of the
figure. (See Illustration 3b, with hori-
zontal marks indicating the figures ex-
tremities.) Throughout the rest of your
drawing process, do not alter or devi-
ate from these marks. By keeping them
sacred, you create a definite baseline
against which incorrect proportions
can be adjusted and corrected. If you
were to fix proportional inaccuracies
OPPOSI TE PAGE
ILLUSTRATION 1
The Proportions of
the Human Body
According to
Vitruvius (The
Vitruvian Man)
by Leonardo da Vinci,
pen-and-brown-ink,
brush-and-brown-
wash, and metal-
point, 13 x 9
5
8.
Collection Gallerie
dellAccademia,
Venice, Italy.
In addition to apply-
ing basic proportional
measurements, it is
important to have
some knowledge of
classical proportions
a topic Leonardo
investigated in his
famous drawing.
Knowledge of classi-
cal proportions helps
you avoid serious
distortions, and be-
cause nobody exactly
matches the classical
ideal, it also allows
you to appreciate the
differences that make
each body unique.
ILLUSTRATION 2
Young Man in Profile
Holding a Ball
by Charles Bargue, ca.
18261883, lithograph,
24 x 18.
2
DR_Fundamentals_Win13.indd 61 1/10/13 10:39 AM
by adjusting the overall height of the
figure, you would soon find that your
correction in one area threw everything
else out of whack, leading to adjustment
after adjustment as you attempt to solve
more and more problems.
THE BODY S LANDMARK POINTS
Before we discuss strategies for mea-
suring the figure, I should empha-
size that it is important to first draw by
eye so that you can use your estimat-
ed drawing as a basis of comparison.
The measurement strategies described
here should be employed after you have
made an initial line drawing, such as
the one in Illustration 3b.
As you study the principle lines of
the figure, you will notice that they in-
variably relate to the boney landmarks
of the skeleton. This brings up an im-
portant point: It is the skeletal frame
that determines proportion, not the
muscles. The boney landmarks are
the nails upon which
the bodys whole struc-
ture depends for solid-
ity. To determine the
proportions of the fig-
ure, we will look for ma-
jor points of the skeleton
that can serve as land-
marks on any model.
When measuring the
figure I find it easiest to
focus on just two very
significant proportion-
al landmarks. On the
front of a figure, these
two internal landmarks
are the bottom of the
chin and the pubis. (See
Illustration 4a.) The chin
is vital because it gives us
a correct head proportion,
which will give scale to
our drawing. The pubis,
or groin, meanwhile, functions to estab-
lish the base of the torso, which varies on
each individual. Once weve found these
two landmarks, the bodys other parts
will fall into place. It is similar to the im-
portance of locating the tear duct when
drawing the headafter youve correctly
located the tear duct, all other facial fea-
tures can be found in relation to it.
On the back view of the figure, I use
the base of the skull as the first land-
mark, if it is visible. If not, I instead look
for the 7
th
cervical vertebra, which gen-
erally protrudes prominently near the
bottom of the neck. The second land-
mark on the back of the figure is the
coccyx, or tailbone, at the base of the tor-
so. (See Illustration 4b.)
ILLUSTRATIONS 3A
AND 3B
After marking
the extremities of
your drawing, find
the action both
inside and outside
using light and
breezy lines that
relate to the figures
most important
projections (usually
boney landmarks).
Remember that the
head is a crucial
shape that can
telegraph good
proportion (or bad).
It should be drawn
at the outset. Lightly
indicate the surface
centers (median
lines) of the head,
rib cage, and pelvis;
these lengths are
the basis of good
proportion.
3A
3B
ILLUSTRATIONS 4A AND 4B
To check your initial proportions on a frontal view of the figure, locate the chin and the pubis. For a back view, locate
the base of the skull (or if it is not visible, use the 7
th
cervical vertebra, located at the base of the neck) and the coccyx,
at the base of the torso.
Bottom
of chin
Pubis
Base of skull
7
th
cervical vertebra
Coccyx
4A
4B
Whether the pose is foreshortened or
not, these landmarks are the basis for
good figure proportion. Once you have
completed your initial line drawing, to
ensure your drawing has correct propor-
tions, measure whether these two land-
marks are correct. If they are, you can
move on to placing and refining smaller
forms within the figure. If you find that
these landmarks are incorrectly placed,
adjust them, and then re-measure. Once
they are correct, you can move on to oth-
er parts of the drawing, knowing that
your figures foundation is accurate.
MEASURING THE INTERNAL
LANDMARKS
There are a variety of ways to deter-
mine whether you have accurately
placed landmark points on your draw-
ing. Some artists use comparative
measuring, sometimes called count-
ing headsseeing how many head
lengths fit into the overall figure and
comparing the length of various parts
to the length of the head. Personally, I
find this method tedious and inaccu-
rate because the head doesnt always
align itself to a convenient landmark.
I prefer the technique of optical reduc-
tion, introduced to me by my teacher
Michael Aviano. This is an ingenious,
empirical method for locating the fig-
ures proportional landmarks, which
requires only a measuring stick, such
as a knitting needle.
One advantage of optical reduction
is that you dont have to fully extend
your arm, which eliminates a common
source of error. (Comparative measur-
ing, in contrast, can only be done with
the arm fully extended.) However, when
using optical reduction, your measur-
ing stick must remain vertical and par-
allel to the picture plane, as shown in
Illustration 5. Your drawing paper must
also be vertical.
To find a landmark in the figure:
hold your stick so that the top of the
measuring stick aligns with the top of
the models head, while your thumb-
nail aligns with the bottommost
point on the figure. (See Illustration
6.) Holding the stick as still as possi-
ble, place your free thumbnail at the
landmark you wish to capturein
this case, the bottom of the chin. (See
Illustration 7a.) Keeping your fingers
at the same points on the stick, hold
it in front of your drawing. By mov-
ONE ADVANTAGE OF OPTICAL
REDUCTI ON I S THAT YOU DON T
HAVE TO FULLY EXTEND YOUR
ARM, WHICH ELIMINATES A
COMMON SOURCE OF ERROR.
ILLUSTRATION 5
Remember to keep
both your measuring
stick and your draw-
ing surface vertical
when evaluating your
proportions.
6
5
One advantage of optical reduction
is that you dont have to fully extend
your arm, which eliminates a common
source of error. (Comparative measur-
ing, in contrast, can only be done with
the arm fully extended.) However, when
using optical reduction, your measur-
ing stick must remain vertical and par-
allel to the picture plane, as shown in
Illustration 5. Your drawing paper must
also be vertical.
To find a landmark in the figure:
hold your measuring stick so that the
top of the stick aligns with the top of
the models head, while your thumb-
nail aligns with the bottommost
point on the figure. (See Illustration
6.) Holding the stick as still as possi-
ble, place your free thumbnail at the
landmark you wish to capturein
this case, the bottom of the chin. (See
Illustration 7a.) Keeping your fingers
at the same points on the stick, hold
it in front of your drawing. By mov-
ONE ADVANTAGE OF OPTICAL
REDUCTI ON I S THAT YOU DON T
HAVE TO FULLY EXTEND YOUR
ARM, WHICH ELIMINATES A
COMMON SOURCE OF ERROR.
BELOW LEFT

ILLUSTRATION 6
To check proportion, hold
your measuring stick so
that the top of the stick
aligns with the top point
on the model and your
thumbnail aligns with
the lowest point on the
model.
LEFT
ILLUSTRATIONS
7A AND 7B
To check whether you
have drawn the models
chin in its correct
position, point off the
models chin with your
free thumbnail. Hold your
thumbnails in place, align
the needle with your
drawing, and compare
your upper thumbnail
(the chins location on
the model) to the chins
location on your drawing.
In this demonstration,
the measurement shows
that the chin in the
drawing is located in the
correct spot.
7B
7A
6
ing the stick forward or back, align
the top of the stick and your bottom
thumbnail with the top and bottom
of your drawing. Make sure both the
stick and your drawing surface are ab-
solutely vertical. Then, check the lo-
cation of the chin in your drawing. If
it is located at the same point as your
upper thumbnail, the chin is correctly
placed. If your drawing does not match
your thumbnail, adjust the drawing as
necessary, and then re-measure. To
find the pubis, repeat the operation,
this time placing your upper thumb-
nail at the location of the pubis, and
again comparing it to your drawing, as
shown in Illustrations 8a and 8b.
This measurement technique takes
a little manual dexterity, but once you
become adept with it, youll find it to
be the most efficient and practical of
all measuring techniques. It is, in es-
sence, a linear proportional device:
It compares the length of part of the
body to that of the whole. The tech-
nique can also be used along a hori-
zontal lineif you are drawing a re-
clining model, for instance. In this
case, simply mark the extremities of
the figures width, and then locate
the head and pubis along a horizon-
tal length. Optical reduction can also
be applied specifically to the head if
youre drawing at a close enough dis-
tance. Using the same technique, you
can check the location of the tear duct
on your drawing, related to the top
and bottom of the models head. (See
Illustrations 9a and 9b.) Once youre
sure the tear duct is correct, it can
serve as the determinant for the pro-
portions of the heads other features.
Optical reduction can also be applied to
the head. Use it to check the location of
the tear ductthe primary proportional
landmark on the front of the head.
ILLUSTRATIONS
8A AND 8B
Use the same tech-
nique of pointing off
to check the location of
the pubis, our second
proportional landmark.
8A 8B
9A
9B
By using optical reduction, you can rectify any
proportional problems early on, which then allows
you to develop your drawing with confidence that
what youve drawn is accurate. This tool guarantees
accuracy, reduces frustration, and enhances creativ-
ity, all for the price of a knitting needle. v
Optical reduction can also be applied to
the head. Use it to check the location of
the tear ductthe primary proportional
landmark on the front of the head.
ILLUSTRATION 10
Samir
by Jon deMartin, 2012, black and white chalk on
toned paper, 25 x 19. Demonstration drawing at the
Grand Central Academy.
Each human being is unique, and when we gain the
mastery of controlling the size of our drawing and
of the subjects proportional relationships, we can
then tackle even more challenging posesand the
creative possibilities of drawing become endless.
10
9A
9B
at Averill is an artist more interested in the pro-
cess of creating than in basking in the finished re-
sult, and the key to her process is spontaneity. Ive
found that if you do too much prep, you lose the
spontaneity and fun of actually working on the draw-
ing or painting, says Averill. Luckily for her, theres
little chance of this happening. Although she lists col-
ored pencil as her favorite medium, her exploration of
art began with oil paint, and she says that she started
working in colored pencil because I could take it any-
where and really capture those tiny, minute details.
Over the years she has continued to work with water-
color, casein, acrylic, graphite, and pastel, using which-
ever mediumor combination of mediabest suits
her subject.
WORK WITH
WHATEVER
WORKS
Pat Averill has worked with
colored pencil for more than 20 years.
Here, she shares some of the
self-taught techniques that continue
to invigorate her practice.
B Y N A O MI E K P E R I G I N
P
DR_Averill_Win13.indd 68 1/10/13 10:41 AM
WHATEVER
WORKS
The best way to describe Averills approach
to art is fearless and focused. She consid-
ers herself largely self-taught and guided by
an emotional response to her subject, but she
is quick to note the importance of planning
and troubleshooting before she begins work-
ing on her final surface. When I have an idea,
I make a small value sketch on a piece of scrap
paper, she explains. Its basically a thumb-
nail in which I mark the two or three basic
values. I then move to a different surface and
do a small line drawing where I mark the area
of focus.
Once shes satisfied with her composition,
she moves to her final surface, which can be
anything from 140-lb watercolor paper to four-
ply black museum board from Strathmore.
She begins placing lines lightly, usually start-
ing with the sky if shes working on a land-
scape. Using four to five colors, she lays in
what she calls a color map, which shows the
basic range of dark, medium, and light val-
ues that form the base of her composition.
Over the years, Averill has learned that correct
placement of values is far more important than
exact proportions of objects. I find that line
Secret Visions
1997, colored
pencil on board,
16
1
2 x 23
1
2. Private
collection.
DR_Averill_Win13.indd 69 1/8/13 12:38 PM
drawings are very limiting, she says. I like
to go with what I see as I see it. Of course, this
means sometimes my fruit is bigger or smaller
than it should be, but that doesnt bother me.
When asked to discuss her list of materials
and tools, Averill is at a loss for words. Where
to begin? To start, her favorite pencils are
Prismacolor and Lyra Rembrandt Polycolor.
She also uses some Derwent pencils, and for
water-soluble pencils, she uses Faber-Castell
Albrecht Drer. I have so many little tricks
in my arsenal, she says with a laugh. When
I want a very light layer of color over an area
when Im putting down my earliest layers of
sky color, for exampleI use a square of sand-
paper and a used dryer sheet.
Yes, sandpaper and a used dryer sheet.
Averill is not only clevershes also into re-
cycling. Well, of course the sheet has to be
used, she says, because you dont want any
chemicals imparted onto your paper. I might
pick a pencil thats a bit darker than the color
I want to put down and rub it across a piece of
sandpaper, depositing it on the surface. I then
take the used dryer sheet and rub it over the col-
or swatch Ive just made. I then apply the dryer
sheet to my drawings surface using a circular
motion and light pressure. As I continue to ap-
ply color, I increase the pressure to ensure that
the area has the same value across the surface.
The artist estimates she spends up to three
months on a single colored pencil drawing,
which can include upward of 10 lay-
ers of color that may incorporate a
range of media, even Crayola cray-
ons. They create this great slippery
surface for the pencil to glide over,
she says. Ive done light tests on
them, so I know which ones I can
use for my fine art. In fact, testing
is a big part of Averills creative pro-
cess, and not just something em-
ployed in the early stages. She keeps
scrap paper on hand at all times, and
even cuts strips of her artist-grade
paper to experiment with. She pre-
fers to work with Fabriano Artistico
extra-white hot- and soft-pressed
paper, as well as Stonehenge paper,
which she says holds up against the
layers needed to get rich darks.
RI GHT
Wildwood
2004, colored pencil on
black museum board,
17 x 24. Private
collection.
RI GHT BELOW
Dew Drop In
2011, colored pencil,
5 x 7
1
8. C ollection
the a rtist.
OPPOSI TE PAGE
Citrus Duo
2006, colored pencil,
4 x 7. Collection
Darcy Schray.
drawings are very limiting, she says. I like
to go with what I see as I see it. Of course, this
means sometimes my fruit is bigger or smaller
than it should be, but that doesnt bother me.
When asked to discuss her list of materials
and tools, Averill is at a loss for words. Where
to begin? To start, her favorite pencils are
Prismacolor and Lyra Rembrandt Polycolor.
She also uses some Derwent pencils, and for
water-soluble pencils, she uses Faber-Castell
Albrecht Drer. I have so many little tricks
in my arsenal, she says with a laugh. When
I want a very light layer of color over an area
when Im putting down my earliest layers of
sky color, for exampleI use a square of sand-
paper and a used dryer sheet.
Yes, sandpaper and a used dryer sheet.
Averill is not only clevershes also into re-
cycling. Well, of course the sheet has to be
used, she says, because you dont want any
chemicals imparted onto your paper. I might
pick a pencil thats a bit darker than the color
I want to put down and rub it across a piece of
sandpaper, depositing it on the surface. I then
take the used dryer sheet and rub it over the col-
or swatch Ive just made. I then apply the dryer
sheet to my drawings surface using a circular
motion and light pressure. As I continue to ap-
ply color, I increase the pressure to ensure that
the area has the same value across the surface.
The artist estimates she spends up to three
months on a single colored pencil drawing,
which can include upward of 10 lay-
ers of color that may incorporate a
range of media, even Crayola cray-
ons. They create this great slippery
surface for the pencil to glide over,
she says. Ive done light tests on
them, so I know which ones I can
use for my fine art. In fact, testing
is a big part of Averills creative pro-
cess, and not just something em-
ployed in the early stages. She keeps
scrap paper on hand at all times, and
even cuts strips of her artist-grade
paper to experiment with. She pre-
fers to work with Fabriano Artistico
extra-white hot- and soft-pressed
paper, as well as Stonehenge paper,
which she says holds up against the
layers needed to get rich darks.
Averill has taught her colored-pencil tech-
niques around the country and continues to
lead small workshops in the Pacific North-
west. Below is a list of materials she suggests
participants bring to her landscape-painting
workshop.
l
set of 120 Prismacolor pencils
l
1077 colorless blending pencil
l
Crayola wax crayonswhite and black
l
Stonehenge paperwhite
l
two-hole pencil sharpener
l
drafting tape
l
clear tape
l
value viewer
l
soft and sticky kneaded eraser
l
plastic eraser
l
flat razor blade
l
small drawing board
l
two-headed stylus
l
birthday candle (wax)
l
paintbrush (to dust off your surface)
OPTI ONAL MATERI ALS
l
stiff bristle brush
l
watercolor pencils
l
wax crayons
l
watercolors
l
acrylics
l
caseins
l
oil pastel sticks
l
battery-powered eraser
l
anything that works!
RECOMMENDED MATERIALS
72 Drawing / Winter 2013 WWW. A RT I S T DA I LY. COM WWW. A RT I S T DA I LY. COM Drawing / Winter 2o13 73
I, Candy
2010, colored pencil, 8 x 11. Collection the artist.
Really, the surface I use depends on what
Ive got on hand and what I want to play
around with, the artist says. I like to use
different-colored papers, as well. If my sub-
ject has a reddish hue, for example, Ill use
a paper thats a complementary color. For
Wildwood, I used black Strathmore museum
board, which required a sort of reverse gri-
saille, where I used white to block in the val-
ues. I learned during that process that the
board absorbs the wax-based pencilmy
whites turned sort of gray. In the end, I had to
go back in and rework the highlights. I used a
water-soluble colored pencil on areas like the
handrail and pathway to make sure they re-
ally popped. When working on a white sur-
face, Averill uses the corner of a f lat razor
blade to pull out highlights, such as the white
foam on ocean waves or the bubbles atop the
leaf in The Gathering Place.
Crayola, razor blades, dryer sheetsnot your
typical materials list. But for Averill, theres
nothing to be gained by being typical. With
every trial and the occasional error, the artist
learns something new not only about herself but
also about the myriad options that are available
in your local art store, hardware store, or even
grocery store. In recent years, shes further chal-
lenged herself with an in-depth exploration of
landscape painting and drawing. With its ever-
changing patterns of light and color, theres no
doubt Averill will find new techniques to help
capture exactly what she sees when looking out
over a dappled forest or sunny hillside. The oth-
er night I was really in the zone, she says. I
was working on a piece inspired by a view I saw
while traveling in Ireland this summer. I prob-
ably spent five hours on it, just listening to my
classical music and trying to get those greens
right. I loved every minute of it. v
BELOW
Light Catchers
2008, colored pencil on black museum
board, 11 x 14. Private collection.
RI GHT
Meadow Camp
2001, colored pencil, 16
1
2 x 29
3
4.
Collection B.W. Cardwell.
I, Candy
2010, colored pencil, 8 x 11. Collection the artist.
ABOUTTHEARTIST
Pat Averill is a signature member of the Colored
Pencil Society of America, and has been juried
into all but two of the organizations international
exhibitions. Her work has been featured in Interna-
tional Artist, The Artists Magazine, American Artist,
and Art Business News. Averills work is featured in
several instructional books, including Step by Step
Colored Pencil and Watercolor Pencil Step by Step
(Walter Foster Publishing), and she is the co-
author of Watercolor Pencil Kit. She has conducted
workshops around the country and now offers
ongoing classes at her home. For more information,
visit www.pataverill.com.
Crayola, razor blades, dryer sheetsnot your
typical materials list. But for Averill, theres
nothing to be gained by being typical. With
every trial and the occasional error, the artist
learns something new not only about herself but
also about the myriad options that are available
in your local art store, hardware store, or even
grocery store. In recent years, shes further chal-
lenged herself with an in-depth exploration of
landscape painting and drawing. With its ever-
changing patterns of light and color, theres no
doubt Averill will find new techniques to help
capture exactly what she sees when looking out
over a dappled forest or sunny hillside. The oth-
er night I was really in the zone, she says. I
was working on a piece inspired by a view I saw
while traveling in Ireland this summer. I prob-
ably spent five hours on it, just listening to my
classical music and trying to get those greens
right. I loved every minute of it. v
1
C OL OR E D P E NC I L
D E MO N S T R AT I O N
Combining Techniques
for a Unified Drawing
B Y G A R Y G R E E NE
Gary Greene is a veteran artist whose books are some of the most widely used
resources for learning colored pencil techniques. His demonstrations provide
precise descriptions of how he draws a given subject, in most cases working from a
reference photograph. This demonstration, adapted from his book The Ultimate
Guide to Colored Pencil, incorporates the methods of layering, burnishing, and
underpainting to depict a time-worn wagon wheel. By following along with this
demonstration and honing the techniques used here, you can develop skills that will
help you to draw any subject.
This demonstration involves separate underpaintings
of water and solvent that are subsequently either
layered or burnished. In the portions of the wagon
wheel that have paint remaining, an electric eraser is
used to partially remove some of the underpainting,
then color blended with solvent is applied. The bare,
weathered wood is best completed with oil-based or
Verithin pencils because their harder cores produce
the crisp linework required to depict cracks and
overall texture.
The burnishing process used for the metal por-
tions of the hub and the background was simplified
and completed in one step; an Icarus heated draw-
ing board was employed for expediency. The results
would be identical without the use of this device.
Reference photo
The Layout
Create a layout, or line drawing, of the image
that shows the outlines and main elements of
the design. Use sharp pencils, and apply them
with light pressure. If you are working from
a photograph, a light table or projector can
assist you in tracing the image.
DR_GreeneDemo_Win13.indd 74 1/8/13 1:04 PM
1
C OL OR E D P E NC I L
D E MO N S T R AT I O N
COLORS
l
fast orange (Caran dAche Pablo)
l
cream, dark umber, light cadmium
red, ochre, warm gray III and IV
(Faber-Castell Albrecht Drer)
l
alizarin crimson, brown ochre,
dark red, dark sepia, green
gold, madder, ochre, and Van
Dyck brown (Faber-Castell
Polychromos)
l
beige, black, bronze, cool gray
20%, 30%, 50%, 70%, and 90%,
cream, French gray 20%, ginger
root, green ochre, and yellow
ochre (Sanford Prismacolor)
l
dark umber (Sanford Verithin)
SURFACE
l
Fabriano 300-lb, soft-pressed
watercolor paper
OTHER TOOLS
l
Bestine rubber cement thinner
l
cotton-tipped applicators
l
medium and small watercolor
brushes
l
electric eraser
l
emery board or sanding block (to
sharpen electric-eraser strip)
l
colorless blender pencil
l
Icarus drawing board (optional)
GARYS MATERIALS
The Layout
Create a layout, or line drawing, of the image
that shows the outlines and main elements of
the design. Use sharp pencils, and apply them
with light pressure. If you are working from
a photograph, a light table or projector can
assist you in tracing the image.
Layer the Weathered
Wood Underpainting
Using long, linear strokes, layer the weathered
wood with French gray 20%.
2
Layering is the quintessential technique
of colored pencil. Color is gradually
applied, or layered, dark to light, building
increasingly complex values and hues.
The result can have a soft, airy look when
more paper is allowed to show, or it can
have an almost painterly look with ad-
ditional applications of color.
Burnishing begins where the layer-
ing technique leaves off. White (or
another light color) is used to burnish,
or mix, layered colors together. Then,
the same sequence of layered colors
(except for the darkest) is re-applied.
The process of layering and burnishing
is repeated until the paper is completely
covered with colored pencil, and then
any remaining tooth is removed with
a colorless blender. Burnishing gives
heightened control over value, hue,
and texture, allowing colored pencil to
more closely resemble the look of oil or
acrylic paints.
Underpainting allows you to create
amazingly lifelike textures. Pale colors,
such as cream, yellow, beige, or sky blue
are layered, and then dissolved with a
solvent (or, if using water-soluble colored
pencil, water is added). Darker values are
then layered or burnished on top to create
the desired texture.
Apply the Solvent
Apply Bestine rubber cement thinner (or
equivalent) with a cotton-tipped applicator in
the same direction as the colored pencil lines.
Layer the Axle
Layer the axle with warm gray III.
3
4
BASIC COLORED PENCIL TECHNIQUE
more closely resemble the look of oil or
acrylic paints.
Underpainting allows you to create
amazingly lifelike textures. Pale colors,
such as cream, yellow, beige, or sky blue
are layered, and then dissolved with a
solvent (or, if using water-soluble colored
pencil, water is added). Darker values are
then layered or burnished on top to create
the desired texture.
Wet the
Axle
Apply water with
a medium-dry,
round watercolor
brush.
Paint the
Shadow
Cast on
the Axle
Layer the cast
shadow on the axle
with warm gray
IV. Apply water
with a small, round
watercolor brush.
Underpaint
the Old Yellow
Paint
Break the point off an
Albrecht Drer cream water-
soluble pencil into a watercol-
or palette, then fill the palette
well with water. When the
point softens, mix thoroughly.
Apply a thin layer of color
with a round watercolor brush
to the spokes light-yellow
painted areas.
Underpaint the
Background
Using the same method
as in Step 7, apply dark
umber (Drer) with a round
watercolor brush to the
background.
5
6
7
8
DR_GreeneDemo_Win13.indd 77 1/10/13 10:43 AM
Paint the Peeling
Yellow Paint
Layer scattered linear strokes of brown ochre, ginger
root, or beige, and then erase an adjoining parallel line
with a sharpened electric eraser. Decrease the thick-
ness of the erased line with the local background color.
Before adding color, lightly erase the areas to be
painted dark yellow with a sharpened electric eraser,
allowing some of the light-yellow underpainting to
remain. Using small, circular strokes, apply layers of
green ochre, bronze, green gold, brown ochre, yellow
ochre, ochre, and fast orange. Burnish with cream
(Prismacolor), and re-apply the first sequence of col-
ors until the surface is covered. Finish with a colorless
blender pencil. Retouch any areas that were uninten-
tionally erased using cream or French gray 20%.
Refine
Shapes
Refine the edges
of the light-yellow
painted areas
with a sharpened
electric eraser and
Prismacolor cream
pencil.
Re-Paint
Erased
Gray
Areas
Re-layer the
erased bare-wood
areas with French
gray 20%.
Paint the
Second
Under-
painting
With an electric eraser,
lightly lift portions of the
yellow underpainting. With
medium pressure, layer
beige and ginger root over
the yellow as shown, and
then apply Bestine or an
equivalent solvent.
9
10
11
12
Paint the Peeling
Yellow Paint
Layer scattered linear strokes of brown ochre, ginger
root, or beige, and then erase an adjoining parallel line
with a sharpened electric eraser. Decrease the thick-
ness of the erased line with the local background color.
Before adding color, lightly erase the areas to be
painted dark yellow with a sharpened electric eraser,
allowing some of the light-yellow underpainting to
remain. Using small, circular strokes, apply layers of
green ochre, bronze, green gold, brown ochre, yellow
ochre, ochre, and fast orange. Burnish with cream
(Prismacolor), and re-apply the first sequence of col-
ors until the surface is covered. Finish with a colorless
blender pencil. Retouch any areas that were uninten-
tionally erased using cream or French gray 20%.
Paint Weathered Red Paint
Apply varying intensities of dark red, madder, and alizarin
crimson to the weathered wood on the spokes and hub.
Weather the Wood
With varying pressure, draw the cracks
with linear strokes of dark sepia, Van
Dyck brown, dark umber (Verithin), and
brownish beige. Use the darkest value
(dark sepia) for the deepest cracks, and
lighter values as the cracks become shal-
lower. Layer light, linear strokes of dark
and brownish beige for the weathered
wood. Carefully leave a line parallel and
to the left or bottom of each crack free of
color to show depth.
Using short, linear strokes, layer burnt
ochre on the wood at the edge of the hub.
Using a sharpened electric eraser,
erase small areas to show chips of yellow
paint. Burnish these areas with cream
(Prismacolor).
Draw lines around edges of the yellow
painted areas with Van Dyck brown or
dark umber.
Layer yellow ochre to show yellow
paint remnants on the weathered wood.
13
14
12
Paint the Axle
Burnish the red areas with pale
vermilion and cool gray 50%.
Burnish the red areas in shadow
with pale vermilion and cool
gray 70%. Burnish the yel-
low areas with bronze, yellow
ochre, and cream (Prisma-
color). Burnish the yellow area
in shadow with cool gray 70%,
bronze, and yellow ochre. Bur-
nish the gray areas with cool
gray 70% and 50%. Burnish
the gray areas in shadow with
black and cool gray 70%.
Underpaint
the Metal
Portions o f
the Hub
Break the points off
Albrecht Drer ochre and
light cadmium red pencils
into a palette, then fill the
palette wells with water.
When the points soften,
mix the colors thoroughly
and apply to the metal
hub with a round
watercolor brush.
Burnish the Metal Portions
of the Hub
Paint the leading edge of the upper hub ring with bronze, yellow
ochre, Van Dyck brown, brown ochre, and cool gray 20%, leaving
the light-yellow underpainting free of additional color.
Burnish the top of the upper metal hub ring and the metal hub
with black, cool gray 90%, 70%, 50%, 30%, and 20%, leaving por-
tions of the underpainting free of additional color.
15
16
17
ABOUTTHEARTIST
Gary Greene is the author of The Ultimate Guide to Colored Pencil, Creating Textures in Colored
Pencil, and Creating Radiant Flowers in Colored Pencil, all from North Light Books (www.northlight
shop.com). Gary has won numerous awards, including three Awards of Excellence from the
Colored Pencil Society of America. He has conducted workshops, demonstrations, and lectures
nationally and internationally since 1985. For more information, visit www.ggart.biz.
Finish
With the
Background
Using circular strokes,
burnish the background
with random, overlapping
applications of black, dark
umber (Verithin), and
chocolate. Adjust your
painting as needed. v
THIS DEMONSTRATION
IS ADAPTED FROM GARY
GREENE S BOOK THE ULTIMATE
GUIDE TO COLORED PENCIL
(NORTH LIGHT BOOKS,
CINCINNATI, OHIO).
TO PURCHASE THE FULL BOOK,
DOWNLOAD A DIGITAL COPY,
OR FIND OTHER RESOURCES
FROM GARY GREENE, VISIT
WWW.NORTHLIGHTSHOP.COM.
18
Burnish the Metal Portions
of the Hub
Paint the leading edge of the upper hub ring with bronze, yellow
ochre, Van Dyck brown, brown ochre, and cool gray 20%, leaving
the light-yellow underpainting free of additional color.
Burnish the top of the upper metal hub ring and the metal hub
with black, cool gray 90%, 70%, 50%, 30%, and 20%, leaving por-
tions of the underpainting free of additional color.
Spiraling Lettuce
2010, colored pencil, 21 x 31.
All artwork this article collection the artist.
DR_Seiter_Win13.indd 82 1/10/13 10:45 AM
BUST
COLORED
PENCILS OR
MEGAN SEITER:
84 Drawing / Winter 2013
hey say God is in the de-
tails. Although I cant
vouch for that, I can
certainly say that de-
tails can help artists
create things of beauty,
and the work of Megan
Seiter is no exception.
The young artists still lifes are the re-
sult of a painstaking focus on detail
and a thorough and patient approach to
drawing. She applies layer upon layer of
colored pencil to her surface, resulting
in still lifes featuring crisp, bright col-
or against stark black backgrounds. The
result is a vibrancy and moodiness that
one wouldnt usually attribute to such
subjects as stuffed animals or cupcakes,
In just three short years, this young artist
has developed a signature style and
passion for colored pencil that informs
her process for creating emotive still lifes.
B Y N A O MI E K P E R I G I N
and certainly not a head of lettuce. I
pick subjects that mean something to
me, Seiter says. The toys are things
that my brother and I grew up with.
When I draw food or f lowers, Im not
trying to get it perfectly rightIm try-
ing to personify it, make it come alive,
and be more than just an object.
As unconventional as some of
Seiters subjects may be, she finds that
viewers are even more shocked when
they discover that her work is done with
colored pencil. Usually when I tell peo-
ple Im a colored pencil artist, they say,
You should try oil, the artist says. It
can be discouraging, but I dont take it
to heart. After all, Seiter has tried oil
and many other media, in her studies
at the Rhode Island School of Designs
Pre-College Program, in Providence;
Hobart and William Smith Colleges,
in Geneva, New York; and Maryland
Institute College of Art (MICA), in
Baltimore. Although shes open to ex-
ploration and recognizes that shes ear-
ly in her career, she knows what she
likes and is sticking with it. I first
worked with colored pencils at MICA
as part of a homework assignment,
and I just clicked with it, she recalls.
From there, I kept working at it. None
of my teachers used it as their prima-
ry medium, so I mostly taught myself
technique.
Drawing was always Seiters first
love, which may have been inevitable.
My mom was an artist, she says, and
my parents owned a printing business.
There was always a lot of paper lying
around, and I could pick up leftover
T
Snow Dancer

I almost never do color
sketches before I start a
drawingusually I only do
an outline version on tracing
paper that I can transfer onto
the black work surface, the
artist says. But for Snow
Dancer, I sketched out the
tutu to find the right amount
of pressure for portraying
multiple layers of the green,
see-through material. I also
worked to figure out how to
create reflected light on the
sequins that was realistic but
not overwhelming.
Natures Dazzle
DR_Seiter_Win13.indd 85 1/8/13 1:15 PM
sheets and draw whenever I felt like it.
Its always been about pencils and paper
for me. It wasnt until high school that
she began formal study and learned the
range of possibilities available with var-
ious drawing media. After graduation,
she was committed to pursuing an art
education, and enrolled at Hobart and
William Smith. Its a liberal arts col-
lege, Seiter explains, and art wasnt a
big major but I wanted a well-rounded
education. By her second year, howev-
er, Seiter had outgrown the small pro-
gram, and after spending a semester in
Rome, she transferred to MICA, where
she majored in General Fine Arts. I
chose that because you werent con-
fined by taking certain classes, the art-
ist says. I was able to try a lot of things,
which is how I got to colored pencils.
As one of the countrys top art
schools, MICA offers students a depth
and breadth of knowledge that goes far
beyond technical mastery. The General
Fine Arts program, which allows stu-
dents to shape a unique course of study
in order to achieve a more personal ar-
tistic vision, embodies this approach.
And Seiter is evidence of the programs
success, as she has developed a unique
style that combines old and newboth
in her subjects and in her media.
One of my favorite classes was
Illusionism, taught by Susan Waters-
EllerI basically followed her for the
rest of my time at MICA, Seiter recalls.
She combined the study of art with
study of philosophy and psychology, re-
ally getting into how and why the hu-
man eye sees things the way it does.
Waters-Eller, whose career as an art-
ist has spanned more than 40 years,
says, I became fascinated with percep-
tion when I did a masters thesis on the
subject. I began to realize how much of
our reality is constructed individually,
which has profound implications phil-
osophically. This exploration led
me to neuroscience, and I even-
tually created the Illusionism
course to present this material in
an experiential way. Megan used
the course to develop her ability to
draw realistically, although other
students use it to aid surrealist
work or give a sense of realism to
imagined scenes. I think Megan
responded to my belief that the
expression of ideas through im-
agery has a distinct advantage
over words.
Drawings by Seiter such as
Flora and Alexander and Natures
Dazzle show signs of this inf lu-
ence. Everyday items are elevat-
ed beyond their common associa-
tions, largely due to Seiters use
of a black background and strong
shadows. Ive found that if you
include a background, you give
the viewer everything thats in
your head, Seiter says. Without
it, the subject dominates and pops
off the surfaceand it evokes
a range of responses, which is
fun. Her mentor and former in-
structor echoes this sentiment. I
Mimi 2009, colored pencil, 11 x 30. Clowns are haunting to some and cute to others, Seiter says. I drew one clown at a time, using the same doll but changing the
lighting. My goal in changing the lighting was to add a degree of visual confusionan intangible quality that might create more of that haunting feeling.
Flora and Alexander
For this drawing, the tooth of the Mi-Teintes
paper was an advantage, Seiter says. As I drew
in the fabric and texture of the stuffed animals,
the grooves in the paper helped it to really pop.
in order to achieve a more personal ar-
tistic vision, embodies this approach.
And Seiter is evidence of the programs
success, as she has developed a unique
style that combines old and newboth
in her subjects and in her media.
One of my favorite classes was
Illusionism, taught by Susan Waters-
EllerI basically followed her for the
rest of my time at MICA, Seiter recalls.
She combined the study of art with
study of philosophy and psychology, re-
ally getting into how and why the hu-
man eye sees things the way it does.
Waters-Eller, whose career as an art-
ist has spanned more than 40 years,
says, I became fascinated with percep-
tion when I did a masters thesis on the
subject. I began to realize how much of
our reality is constructed individually,
which has profound implications phil-
osophically. This exploration led
me to neuroscience, and I even-
tually created the Illusionism
course to present this material in
an experiential way. Megan used
the course to develop her ability to
draw realistically, although other
students use it to aid surrealist
work or give a sense of realism to
imagined scenes. I think Megan
responded to my belief that the
expression of ideas through im-
agery has a distinct advantage
over words.
Drawings by Seiter such as
Flora and Alexander and Natures
Dazzle show signs of this inf lu-
ence. Everyday items are elevat-
ed beyond their common associa-
tions, largely due to Seiters use
of a black background and strong
shadows. Ive found that if you
include a background, you give
the viewer everything thats in
your head, Seiter says. Without
it, the subject dominates and pops
off the surfaceand it evokes
a range of responses, which is
fun. Her mentor and former in-
structor echoes this sentiment. I
can see the progression in Megans re-
cent work and appreciate the haunting
qualities she brings to her objects that
make each one more than the thing it-
self, says Waters-Eller. Theres a feel-
ing of intense life and silence that tran-
scends the subject.
Although most of Seiters subjects
are in a state of stasis, she primarily
draws from life, only employing pho-
tographs to help recall minute details.
For Natures Dazzle I started by draw-
ing the f lowers that looked like
they had the shortest lifespan,
the artist says. As they wilted, I
kept them in the vase and added
other f lowers as needed so that
my shadows would remain con-
sistent throughout. After much
trial and error, Seiter has set-
tled on Prismacolor and Caran
dAche pencils, which she likes
for their range of colors and wax-
to-pigment ratio. Her preferred
surface is Colourfix paper, which
she buys in black. When I tried
coloring the background myself,
I just couldnt get that same bril-
liance, she says. She also likes
Mi-Teintes papers, which served
as the foundation for Flora and
Alexander.
In such drawings as Mimi,
Seiter employed some of the
techniques she learned from
Waters-Eller. There was only
one doll, but I wanted to pres-
ent all three of them, Seiter
explains. Id learned how to
draw things that werent there,
so I felt comfortable putting the
clown under different lighting
Mimi 2009, colored pencil, 11 x 30. Clowns are haunting to some and cute to others, Seiter says. I drew one clown at a time, using the same doll but changing the
lighting. My goal in changing the lighting was to add a degree of visual confusionan intangible quality that might create more of that haunting feeling.
Delphinium
2012, colored
pencil, 20 x 11.
conditions and drawing each one indi-
vidually. I think they look unique but
similar, which is what I was going for.
She notes this piece was one of her most
time-intensive, with the first clown
alone requiring 12 hours of drawing
due to the range of textures it contains.
The porcelain of the doll, the silk jacket,
and the fur collar were all new challeng-
es that proved to be very exciting.
Seiter now lives in Northern
California, where she works part time
and spends her remaining time focused
on her art. She already shows signs of
business savvy. She enters as many
competitions as she can, using the en-
try deadlines as motivation and struc-
ture for her studio time. If you want to
be an artist, you have no choice but to be
driven, she says with a confidence that
belies her years. Some of my classmates
graduated and discovered that without
assignments and grades, they werent
that passionate about their art. Im learn-
ing to be my own boss and accept disap-
pointment when a piece isnt juried into
an exhibition or awarded a prize.
The artist has also created an art
series, through which fans of her art
can pay for a subscription to her work.
For a fixed price they receive an orig-
inal drawing from Seiter once a year
for five years. Its a win-win situation:
Admirers receive five one-of-a-kind
works by an up-and-coming artist, and
Seiter develops a client list and is able to
pay off her student loans. I just want to
do whatever I can do so that I can keep
making art, she says. I feel so lucky to
have opportunities already, and I hope
this is just the beginning. v
IF YOU WANT TO BE AN ARTI ST,
YOU HAVE NO CHOICE BUT TO
BE DRI VEN. . . . I M LEARNING TO
BE MY OWN BOSS AND ACCEPT
DI SAPPOINTMENT WHEN A PIECE
I SN T JURIED INTO AN EXHIBI TION
OR AWARDED A PRI ZE.
ABOUTTHEARTIST
Megan Seiter earned her B.F.A. in
general fine arts from the Maryland
Institute College of Art, in Baltimore.
She is a member of the Colored Pencil
Society of America and has served on
Prismacolors advisory council.
For more information, visit
www.meganseiter.com.
Curious
A
Artists know that much of their most
creative work never gets seen by eyes
other than their own. This is due in
part to the difficulties of securing
venues to exhibit artwork, but its
also a result of the creative process.
Moments of high creativity frequent-
ly come in the form of quick sketch-
es, casual drawings, and unplanned
experiments in journals and sketch-
Artists of all stripes are invited to submit to
The Sketchbook Projects library and touring exhibition.
CATALOGUING
imagination
DR_SketchbookProj_Win13.indd 90 1/8/13 1:23 PM
A
Artists know that much of their most
creative work never gets seen by eyes
other than their own. This is due in
part to the difficulties of securing
venues to exhibit artwork, but its
also a result of the creative process.
Moments of high creativity frequent-
ly come in the form of quick sketch-
es, casual drawings, and unplanned
experiments in journals and sketch-
bookswork that often doesnt make
it into exhibitions and portfolios.
The Sketchbook Project is an in-
ternational art initiative that seeks to
expose these sorts of hidden creativi-
ty. The project amasses a huge collec-
tion of sketchbooks by artists of all lev-
els working in a multitude of subjects
and media, and then make the books
available online and through tours to
cities across the country and world.
Since its founding in 2006, the proj-
ect has revealed the creative lives of
artists of every sort, and it offers an
uncanny view into the raw creative
energy that informs much of contem-
porary drawing, painting, and mixed-
media artwork.
To participate, artists pay a small
fee that covers the cost of supplies,
shipping, and archiving. In return
they receive a sketchbookbrown
on the outside with blank white pag-
es on the inside. They can then do
pretty much whatever they want with
itdraw, paint, cut, or paste. As long
as the book still fits on a shelf and
doesnt leak sequins and glitter, all
bets are off.
CATALOGUING
imagination
LEFT
Treehouses of My
Imagination (pages 1314)
by Jeanie Wogaman.
My Commuting Companion (pages 1314)
by Carl Licence. All artwork this article from The
Sketchbook Project, 2012, courtesy Art House Co-
Op, New York, New York.
OPPOSI TE PAGE
She Has Hope (pages
1314)
by Melissa Patton.
Participants return their complet-
ed sketchbooks to Art House Co-Op,
the organization that runs the proj-
ect. Books then embark on themed
tours that travel to several cities via the
Mobile Library, a custom-built trailer
that functions as an interactive exhibi-
tion space. Artists also have the option
of having their sketchbook scanned and
made available online as part of the Art
Houses digital library.
The project affords artists something
close to total creativity within the con-
fines of a sketchbook. They can not only
choose their subjects but also their en-
tire approach to the projectincluding
whether to spontaneously fill in pag-
es with all sorts of art or create a sin-
gle, coherent work. Many artists go all
out, decorating every side of every page
and blanketing the front and back cov-
ers with intricate designs. Others take
a more restrained approach, presenting
individual drawings that may form a se-
ries or narrative.
I
ncluded here is a small selection
of pages taken from submis-
sions to the 2012 Sketchbook
Project. Although it is by no
means comprehensive, this
sample gives some idea of the
breadth of approaches, me-
dia, and subjects that make up the li-
brary. Carl Licence, for example, titled
his book My Commuting Companion
and filled it with scenes of passengers
sleeping and reading on trains and vi-
sions of the city f lashing by. Kara Lynn
Ingalls sketchbook, Travel With Me
To the Napa Valley, depicts travels of a
more leisurely sort her framed, de-
liberately composed drawings depict
scenes near her home in Californias
wine country.
Many artists take a mixed-media
approach, and collage makes a strong
showing throughout numerous books.
Melissa Lynn Patton, for example,
composes intricate assemblages com-
bining decorative elements, words,
and figures made of bold geomet-
ric forms similar to paper cutouts.
The results are pages that explode at
their seams with color and energy, and
which investigate topics of happiness
and beauty.
Illustration, animation, and cartoon-
ing constitute another prominent ar-
tistic strain. Brett Nelson turned his
sketchbook into Mad Jack: Chapter One,
a farcical, violent, rollicking comic book.
Jeanie Wogamans sketchbook explores
a very different sort of imagined world;
ABOVE
Travel With Me
To the Napa
Valley (pages
910)
by Karen Lynn
Ingalls.
The Sketchbook Project is the flagship
program of the Art House Co-Op, a
New York-based organization that
stages collaborative art projects. Begin-
ning in 2013, participants may sign up
at any point and assign their book to a
multi-city tour of their choice. For further
information on entering or viewing The
Sketchbook Project, as well as other
Art House Co-Op initiatives, visit
www.arthousecoop.com.
VIEW and PARTICIPATE
IN THE SKETCHBOOK
PROJECT
I
ncluded here is a small selection
of pages taken from submis-
sions to the 2012 Sketchbook
Project. Although it is by no
means comprehensive, this
sample gives some idea of the
breadth of approaches, me-
dia, and subjects that make up the li-
brary. Carl Licence, for example, titled
his book My Commuting Companion
and filled it with scenes of passengers
sleeping and reading on trains and vi-
sions of the city f lashing by. Kara Lynn
Ingalls sketchbook, Travel With Me
To the Napa Valley, depicts travels of a
more leisurely sort her framed, de-
liberately composed drawings depict
scenes near her home in Californias
wine country.
Many artists take a mixed-media
approach, and collage makes a strong
showing throughout numerous books.
Melissa Lynn Patton, for example,
composes intricate assemblages com-
bining decorative elements, words,
and figures made of bold geomet-
ric forms similar to paper cutouts.
The results are pages that explode at
their seams with color and energy, and
which investigate topics of happiness
and beauty.
Illustration, animation, and cartoon-
ing constitute another prominent ar-
tistic strain. Brett Nelson turned his
sketchbook into Mad Jack: Chapter One,
a farcical, violent, rollicking comic book.
Jeanie Wogamans sketchbook explores
a very different sort of imagined world;
her pen drawings depict tiny peo-
ple living peacefully in the trees. She
draws mostly in black but dots her
pages with great red apples, and these
generous splashes of color energize
her complex compositions.
Thousands of sketchbooks are
available for viewing online at the Art
Houses digital library and in person
at the Brooklyn Art Library, the proj-
ects New York City exhibition space
and storefront. The level of creative
energy in the works is remarkable,
and the project offers a rare opportu-
nity to see the creative process at its
most raw and joyful. It reminds us
that a small, well-worn book can con-
tain as much imagination as all the
walls of a hallowed gallery.
BELOW
Mad Jack: Chapter
One (pages 1112)
by Brett Nelson.
The Brooklyn Art Library, the Art Houses base in
New York City, is filled with artists sketchbooks.
SHADES OF GRAY
SHADES OF GRAY
SHADES OF GRAY
2
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M
P
E
T
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N
CALL
FOR
ENTRIES
Hurry, submit your artwork for the Shades of Gray
competition by September 9, 2013!
WIN RECOGNITION AND HAVE YOUR ARTWORK
PUBLISHED IN DRAWING MAGAZINE!
This exciting opportunity is open to all work created entirely in black, white, and gray in a drawing medium,
including graphite, charcoal, pastel, chalk, colored pencil, pen-and-ink, ballpoint pen, and mixed media.
Enter today at WWW.ARTISTSNETWORK.COM/SHADESOFGRAY
Shades of Gray Comp ad.indd 94 1/9/13 4:48 PM
94 Drawing / Winter 2013 WWW. ARTI STDAI LY. COM WWW. ARTI STDAI LY. COM Drawing / Winter 2013 95
ARTI STS MARKETPLACE
ADVERTISER INDEX
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Artists Interactive ................................ 95
Blick Art Materials ................................ BC
Canson ................................................IFC
Caran dAche ........................................ 15
Drawing Tutorials Online ....................... 13
Faber-Castell .......................................... 3
Firststreet ............................................ 19
F+W Media, Inc
..............8, 9, 10, 11, 13, 20, 25, 94, IBC
General Pencil ...................................... 17
Idyllwild Arts ........................................ 95
Sheldons Art Academy ......................... 95
Staedtler ................................................ 5
The Teaching Company/Advrtsng ........... 7
Watts Atelier Of The Arts, LLC .............. 21
WORKSHOPS
CALIFORNIA
IDYLLWILD ARTS
Located in the beautiful mountains of Southern
California. Over 50 workshops for adults,
including Painting, Drawing, Mixed Media,
Ceramics, Metals/Jewelry, Native American
Arts, Printmaking, Book Arts, Sculpture.
Painting & Drawing Workshops.
6/16-6/18/13, Idyllwild.
Scott W. Prior, Still Life & Figure. $495.
6/16-6/18/13, Idyllwild.
Barbara Nechis, Watercolor. $495.
6/17-6/21/13, Idyllwild.
Ron Pokrasso, Beyond Monotype. $715.
6/20-6/22/13, Idyllwild. David Clark,
Encaustic Monoprinting. $495.
6/21-6/22/13, Idyllwild. Robert Dvorak,
Travel Drawing & Painting. $330.
6/23/13, Idyllwild. Robert Dvorak,
Figure in Watercolor-Quick Studies. $165.
6/24-6/28/13, Idyllwild.
Iva Guerguieva, Contemporary
Painting-Using Acrylics. $715.
6/24-6/28/13, Idyllwild.
Cari Hernandez, Encaustic Painting. $715.
6/24-6/28/13, Idyllwild. Dan Welden,
Solarplate Printmaking. $715.
7/1-7/5/13, Idyllwild.
Bill Perkins, Color Boot Camp. $715.
7/1-7/5/13, Idyllwild. Margaret Scanlan,
Drawing Intensive. $715.
7/8-7/10/13, Idyllwild.
Nicholas Simmons, Watercolor Unleashed:
Waterbased Media. $495.
7/8-7/12/13, Idyllwild. Rebecca Campbell,
Contemporary Painting-Figurative. $715.
7/8-7/12/13, Idyllwild. Laura Wait,
Manuscript Books: Writing as Image,
Exposed Sewing. $715.
Contact: 951/659-2171, ext. 2365
summer@idyllwildarts.org or
www.idyllwildarts.org
RUTH BLOCK
Both Events are Free with materials
provided and held at the WCRC: Womens
Cancer Resource Center, 5741 Telegraph
Ave, Oakland, CA 94609. To Register or
for more information please contact
Award Winning Art Classes
On DVD by RUTH BLOCK
Classic Life Drawing - Full Course
Painting the Figure in Watercolor
All instructional workshops include dynamic

2
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All instructional workshops include dynamic
split-screen demos, exercises, and practice
time with male and female models
WWW.AIVIDEO.COM
Current Classes & Workshops:
www.ruthblock.com
Artists InterActive Video Dept. WSP11
5722 Huntington Avenue, Richmond, CA 94804
ph: 510-526-4604 send for free brochure
Artists InterActive Video
5722 Huntington Avenue, Richmond, CA 94804
ph: 510-225-1123 send for free brochure
Classic Life Drawing - Full Course
Painting the Figure in Watercolor
By Ruth Block - DVDs & Downloads
N
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Registration
Begins February 1
To Ensure a Space
Register Early
summer@idyllwildarts.org
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the WCRC directly: www.wcrc.org
2/9/13, Oakland. Ruth Block, Color
Dynamics: From Theory to Practice.
3/23/13, Oakland. Expressive Painting: An
Emersion into the Joy of Creative Process.
Contact: 510/225-1123, rblock@sonic.net
www.ruthblock.com or www.aivideo.com
SHELDONS ART ACADEMY
Pencil, pen, pastel, acrylic, oil, watercolor,
fundamentals of drawing, painting, design,
animation and illustration, all levels.
Check out our New Online School at
www.portfolioartschool.com
Contact: Sheldon Borenstein,
818/706-9444, 626 Lindero Canyon Road,
Oak Park, CA 91377
sheldonsartacademy@sbcglobal.net or
www.sheldonsartacademy.com

WATTS ATELIER OF THE ARTS, LLC
3/18-3/23/13, Encinitas. Jeffrey R.
Watts, Life Drawing. Limited to 10
participants. $1,350.
3/25-3/30/13, Encinitas. Jeffrey R.
Watts, Oil Painting. Limited to 10
participants. $1,350.
4/1-4/5/13, Encinitas. Calvin Liang, Plein
Air Painting. Limited to 15 participants.
Contact: 760/753-5378
www.wattsatelier.com
MASSACHUSETTS

ACADEMY OF REALIST ART
The Academy of Realist Art is an international
institution that trains artists in the classical
realist tradition. All our faculty were trained
using the same core curriculum that has
produced some of the best draftsman and
painters practicing today.
7/22-8/2/13, Boston. Christina Mastrangelo,
Still Life Painting, 10-days, Cost: $1,150.
8/5-8/16/13, Boston. The Self Portrait:
Artist as Model, 10-days, Cost: $1,150.
Please call or visit our websites for upcoming
2013 Workshops.
Contact: 112 South Street, Third Floor,
Boston, MA 02111, 617/426-3006
ara_boston@academyofrealistart.com or
www.academyofrealistartboston.com
INTERNATIONAL

CANADA
ACADEMY OF REALIST ART
The Academy Of Realist Art (ARA) is one of
a select few art schools in the world that
utilizes the academic approach to fgure
drawing and painting.
3/9-3/15/13, Ottawa. Fernando Freitas,
In the Studios of Caravaggio. $650.
3/25-3/29/13, Toronto. Juan Martinez,
Portrait Painting From a Photo. $600.
4/6-4/12/13, Toronto. Fernando Freitas,
In the Studios of the Old Masters. $750.
Classical Portrait Painting. $750.
5/25-5/31/13, Ottawa. Fernando Freitas
and Matthew Collins, Bargue. $650.
Alla Prima Portrait Painting. $600.
6/4-8/20/13 & 6/5-8/21/13, Toronto.
ARA Faculty, Classical Figure Drawing. $600.
6/22-6/28/13, Toronto. Fernando Freitas,
In the Studios of Ingres. $750.
Please call or visit our websites for upcoming
2013 Workshops.
Contact: 2968 Dundas Street West, Toronto,
ON M6P 1Y8, 416/766-1280
info@academyofrealistart.com or
www.AcademyofRealistArt.com
Kristin Roark kristin.roark@fwmedia.com 513/531-2690 ext. 11381
Mary McLane mmclane@artistdaily.com 970/290-6065
DR_Classifieds_Win13.indd 95 1/14/13 10:24 AM
NEW & NOTABLE
WH Y NE W?
In recent years, this Texas-based artist has shown
his work in numerous exhibitions around the
country, including solo shows of his extensive
Metabolism and Sonogram series.
WH Y NOTA BL E ?
DeCaens Metabolism series includes works in
numerous media and features his inventive and
complex responses to scenes from Italian cinema
that depict food and eating. Disconnect III, for
instance, shows a man and a woman sitting
together for a meal that hardly seems joyful. The
fgures overlap, but the composition reveals them
to be decidedly divided. Many pieces in the series
were drawn with ink or graphite over a screen-
printed pattern, but the series also included
lithographs, papier mch, and sculptures made
of paper, household items, and other materials.
I F Y OU L I K E I T
See more of the artists work at
www.andrewdecaen.com, or visit the website
of Norwood Flynn Gallery, in Dallas.
Andrew
DeCaen
TOP
Disconnect III
2011, graphite, lithograph, and colored pencil,
11 x 22.
ABOVE
Ecco!
2012, graphite over
screenprint, 23 x 22.
DR_NewNotable_Win13.indd 96 1/8/13 1:26 PM
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Blick Art Materials ad.indd 4 1/9/13 4:52 PM

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