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CONTENTS

Preface xi Four Things to Look for When Identifying Value

Introduction Structure on a Form 71
Various Methods for Applying Value 73
Exercises for Promoting a General-to-Specific
Essential Skills and Approach 79
Information 3 Controll ing Some Variables of Value Structure 81
WHAT EVERY STUDENT SHOULD KNOW ABOUT DRAWING
The Illusion of Space and Depth
Sighting and the Use of a Sighting Stick 3 on a Two-Dimensional Surface 81
Why Use Sighting? 3 Methods for Indicating Space and Depth 81
Guidelines for Sighting 3 Different Kinds of Space 85
Applications of Sighting 5
Transferring Sighting Observations to a The Technique of Scaling to Determine
Drawing Surface 13 Accurate Size Relationships 88
Establishing Scale Successfully 88
The Principles of Composition: The Process of Scaling 90
Theory Versus Application 14
General Guidelines for Scaling 94
Review of Some Simple Definitions 15
Visual Principles of Composition 17 Creating an Effective Still Life 97
Variable Compositional Elements to Consider 21 What Kinds of Objects Should Be Included? 97
Using a Viewfinder: What Does It Do for You? 22 Additional Considerations for Still Liles 99
General Guidelines Concerning Composition 24 The Meaning of Still- Life Objects 100
Thumbnail Studies as a Method for Exploring Using Photographic References 102
Composition 32

The Golden Section 35 Spatial Thinking and

What Is the Golden Section? 36 Visualization 105
Constructing a Golden Rectangle 37 THE ESSENTIAL PRINCIPLES OF PERSPECTIVE DRAWING
The Fibonacci Series 39
An Introduction to Perspective 105
Line Variation and Sensitivity 42 What Is Perspective? 105
Working from General to Specific 42 Different Types of Perspective 105
The Medium and Surface 42 Basic Principles of Linear Perspective 108
What Is Meant by "Sensitive" Line? 42 Perspective and Sighting 108
Achieving Line Variation and Line Sensitivity 43 Limitations of Linear Perspective 109
Different Kinds and Functions of Line 50 Recommended Sequencing for Maximum
Straight-Line Construction 59 Comprehension 109
Planar Construction 61 Suggestions for Effective Perspective
Drawing 110
Working with Value Structure 63 Perspective Materials List 112
A General-to-Specific Approach to Building
Value Structure 64 The Terminology of Perspective 113
Using Value to Establish an Effect Primary Working Terminology 113
or a Mood 66 Related Terminology 114
Value and Texture 68 Additional Useful Terminology 115
_j vii
viii ~ ONTENTS

The Process of Dividing a Form 140

Perspective and Cubes 115
Applications for the Use of Regular
Constructing a Cube in One-Point Perspective 115
and Irregular Divisions 141
Constructing a Cube in Two-Point Perspective
Based on Estimation of Cube Depth in Relation Inclined Planes in Perspective 142
to Cube Height 116 Auxiliary Vanishing Points and the Vertical Trace 143
Estimating Cube Depth in Two-Point Perspective 120
Geometric Solids and Transparent
Using Perspective Grids 120 Construction 146
Constructing a Gridded Ground Plane in One-Point What Is Transparent Construction? 146
Perspective 121 Establishing the Cubic Connection 146
Constructing a Gridded Ground Plane in Two-Point
Perspective 121 Three-Point Perspective 148
Constructing a Form in Three-Point
Increasing Complexity in the Perspective
Perspective 151
Environment 124
Multiple or Sliding Vanishing Points 124 Suggested Perspective Exercises 153
Cube Multipl ication 127
Cube Division 129
Essential Drawing
Constructing Ellipses in Principles in Relation
One-Point and Two-Point Perspective 131 to the Human Figure 164
The Eight-Point Tangent System for Ellipse
The Human Figure 164
Construction 131
Why Study the Human Figure? 164
Major and Minor Axes, Distortion, and Fullness
Classroom Etiquette When Drawing
of Ellipses 132
from a Model 166

Advanced Perspective The Process of Sighting in Relation

to the Human Form 166
Techniques 135
Comparative Proportions in the Male
Taking Perspective to the Next Level 135 and Female Figure 172

Mathematically Precise Cubes Gesture Drawing or Rapid Contour

in Two-Point Perspective 136 Drawing 175

Constructing a 30°/60° Cube Based on the Height Seeing Is the Key 176
of the Leading Edge 136 Using Axis Lines 177
Constructing a 45°/45° Cube Based on the Size Keeping It Simple 177
of the Base Square 137 Setting the Pace 178
First Alternative Method for Constructing Working from the Inside Out 178
a 45°/45° Cube 138
Enhancing the Illusion of Volume and Space
Second Alternative Method for Constructing
in the Human Form 178
a 45°/45° Cube 139
Line Variation in Figure Draw ing 178
Using Measuring Lines for Equal and Unequal Scaling Techn iques in Figure Drawing 179
Divisions of an Area 140 A General -to-Specific Approach to Form
Setting Up the Measuring Line 140 and Value in Figure Drawing 180
 CON T ENT~ ix

An Introduction to Portraiture 182 Drawing with Color Media 231

Common Errors 182
Colored Pencils 231
General Guidelines for Locating Facial Features
and Other Landmarks 184 Student-Grade Colored Pencils 232
The Features and Other Significant Aspects Artist-Grade Colored Pencils 232
of Portraiture 187 Building Your Colored Pencil Collection 233
An Alternative Viewpoint in Portraiture 196 Colored Pencil Accessories 234
Advantages and Disadvantages of Working
Mapping the Figure in Space 198 with Colored Pencils 235
Drawing the Figure in an Observed Environment 198 Colored Pencil Papers 235
Using Straight- Line Construction 199 Colored Pencil Techniques 236
Creating Visual Paths of Movement 199 Resolving Some Limitations of Colored Pencil 237

The Figure and Anatomy 201 Pastels 238

Artistic Anatomy Versus Medical Anatomy 201 Student-Grade Pastels 239
Anatomy Reveals Itself 203 Artist -Grade Pastels 239
Major Bones of the Human Skeletal Structure 208 Pastel Pencils 241
Bony and Other Landmarks in the Figure 210 Pastel Accessories 241
Additional Information About the Human Advantages and Disadvantages
Skeletal Structure 215 of Working with Pastels 244
Superficial Muscles of the Human Figure 218 Pastel Papers and Substrates 244
Anatomical Terminology 224 Pastel Techniques 245
Basic Working Procedures 246

Color Theory and Oil Pastels 247

Application 225 Student-Grade Oil Pastels 248

Artist-Grade Oil Pastels 248
Color plate section follows page 256
Building Your Oil Pastel Collection 249

Understanding Color 225 Oil Pastel Accessories 249

Advantages and Disadvantages of Working
Color Terminology 225
with Oil Pastels 251
The Seven Color Contrasts 227
Oil Pastel Papers and Substrates 251
Color Harmony and Color Chords 229
Oil Pastel Techniques 252
The Spatial and Volumetric Effects Basic Working Procedures 254
of Color 229
Some Final Thoughts About Working
Value and Color 229
with Color 255
Temperature and Color 230
Intensity and Color 230
Volume and Color 230 Developing Ideas, Resolving
Problems, and Evaluating
Hints for Observing and
Results 257
Recording Color 230
Value in a Color Drawing 230 Ideation: Generating Ideas 257
Intensity in a Color Drawing 231 Imaginative Thinking and the Brain 257
Complements in a Color Drawing 231 Imagination, Creativity, and Brainstorming 258
~ ON TENTS

Additional Materials for Drawing and Related

Diagnosing Problems in Your Work 258
Processes 292
Inaccurate Proportional, Scale, or Shape
Relationships 259 Transfer Techniques Combined with Drawing 299
Multiple Perspective Eye Levels 260 Photocopy and Laser Print Transfers 299
Foreshortening Inaccuracies or a Lack Acrylic Medium Transfers 303
of Foreshortening 260 Lazertran Transfers 304
Flat and Restricted Line Work 261
Details or Specifics at the Expense of the Larger
and More General Underlying Forms 261 Appendix: Contemporary Art 308
Scaling Inaccuracies in Relation to Perspective A Gallery of Drawings 308
Principles 262
Color plate section follows page 352
Lack of Volume or Timid Value Structure in
Three-Dimensional Forms 262
Overly Generalized Drawing 262 Joe Bief 308
Substituting Recipes or Formulas for Dustan Creech 312
Careful Observation 263
Bailey Doogan 314
Unintentionally Ambiguous Space 263
Dan Fischer 317
Rigid or Pristine Drawings Lacking
a Sense of Process 263 Sangram Majumdar 320
Disregard for or Poor Composition 263 Antony Micallef 324
Chloe Piene 326
Intentions Versus Results 264
Discovering Disparity 264 Ben Polsky 328

Descriptive Feedback 264 Jon Rappfeye 332

Interpretive Feedback 265 Robert Schultz 336

The Importance of Critiques 266 Jenny Scobel 339

Group Critiques 266 Joseph Stashkevetch 343

Individual Critiques 267 Armin Mersmann 346
Julia Randall 349
Key Questions for Critiquing Work 267
Daniel E. Greene 349
Questions Regarding Composition 267
Questions Regarding Drawing 268 Lilian Kreutzberger 349
Questions Regarding Figure Drawing 269 Rob Womack 349
Questions Regarding Perspective 270
Nathan Heuer 350
Questions Regarding Color 271
Aneka Ingold 350

fan Ingram 351

Drawing Materials Zaria Forman 351
and Processes 272
Juan Perdiguero 352
Media and Materials for Drawing 272
Traditional and Nontraditional Drawing Surfaces Glossary of Art Terms 353
and Substrates 272 Bibliography 368
Traditional and Nontraditional Drawing Media 282 Index 370
PREFACE

T
he teaching of drawing as a fundamental discipline for Organization and Content
developing artists is of paramount concern to me, as
anyone who is familiar with my first book, The Art of The book is organized in terms of both direct studio ex-
Teaching Art: A Guide to Teaching and Learning the periences that are necessary for a solid and thorough
Foundations of Drawing-Based Art, will know. The sig- two-dimensional foundation education and supplemen-
nificance of the foundation experience for students of tal information that facilitates and informs the drawing
visual art cannot be overstated. The quality of this in- experience. Throughout the book, I emphasize the culti-
troductory experience has the power to broadly influ- vation of observational skills, increased sensitivity, tech-
ence a student's long-term attitude toward his or her nical refinement, critical thinking, and knowledge of
education in the arts . And, in considering all the vari- materials. More than 500 illustrations (including many
ables involved in this foundational experience, no high-quality student drawings) are provided with cap-
factor is more important than the teacher. She or he has tions that clarify the primary technical, formal, and/or
the capacity to create an atmosphere of wonder, confi- conceptual concern of each piece.
dence, and enthusiasm for the experience of learning, Chapter One addresses drawing experiences that are
or to create an atmosphere of dread, defeat, and dis- broadly applicable to any subject matter. Included are
couragement. As the facilitator of the learning experi- sighting methods for observing and recording relative
ence, the instructor's knowledge base, communication proportions, the relationship between parts and the
skills, self-confidence, preparedness, and enthusiasm whole, and an explanation of how and why sighting
for teaching are vital to a positive experience for both works; a comprehensive outline of fundamental compo-
the students and the instructor. sitional concerns including a discussion of viewfinders
Drawing Essentials: A Complete Guide to Drawing and the ways in which they aid composition, the visual
is designed to support instructors' efforts in making principles of composition, compositional variables, and
this foundational experience a rich and satisfying one the significance of thumbnail studies; a discussion of the
for students. As an introductory text for beginning Golden Section as an organizational and compositional
drawing students, Drawing Essentials is a no-frills, device and its relationship to the Fibonacci Series; tech-
nuts-and-bolts approach that addresses foundation- niques for creating meaningful line variation that com-
level drawing based on the classic model of highly at- municates form, volume, and space (including
tuned observational drawing. Unlike some drawing straight-line and planar construction); guidelines for
textbooks, Drawing Essentials does not specifically ad- observing and addressing tonal or value structure and
dress contemporary art movements or the history of how to use a general-to-specific method of tonal devel-
drawing, nor is it focused on extensive experimenta- opment; methods for developing space and depth on a
tion. While I consider these issues to be an important two-dimensional surface using achromatic media; scal-
and vital part of any art student's educational experi- ing techniques for determining consistent size relation-
ence, my primary focus is on essential foundational ships and placement of multiple forms in a spatial
experiences that provide a rich context for more ad- environment; and considerations for creating and light-
vanced and experimental explorations of drawing and ing an interesting and instructive still life arrangement.
related disciplines, and that help to clarify the rela- Chapter Two introduces perspective drawing with
tionship of drawing to both contemporary and histori- an emphasis on understanding perspective at an intro-
cal paradigms for the creation of art. ductory level. It demystifies this often-intimidating sub-
Drawing Essentials thoroughly addresses the three ject and is presented in a sequential manner so that each
drawing subcategories that are most important at the new area of investigation builds naturally on prior infor-
foundation level-basic drawing (non-subject-specific), mation to maximize comprehension. Both technical and
figure drawing (including anatomy), and perspective freehand perspective are introduced with an emphasis
drawing-explaining clearly and in depth the elements on the significance of a "perfect" cube as the geometric
that are essential to depicting form and space on a two- basis for creating a wide variety of forms and structures
dimensional surface. It is unique in that it clearly and that define and describe space and volume. Following a
thoroughly explains and illustrates key studio experi- discussion of the importance of proficiency in perspec-
ences that are not, in my estimation, satisfactorily fleshed tive and a list of relevant materials, tools, and vocabulary
out for students in other drawing textbooks. terms, concise instructions are given for one- and

_j xi
xii ~REFAC E

two-point cube construction and estimation of cube evaluating one's own work as well as evaluating the work
depth. An understanding of basic cube construction of others. Suggestions are made for identifying technical
provides the building blocks (quite literally) for in-depth and formal problems that repeatedly surface in founda-
investigations of gridded planes in both one- and two- tion-level work, with guidance provided for identifying
point perspective; multiple or sliding vanishing points and diagnosing what ails a drawing and what remedies
and when to use them; cube multiplication and cube di- will facilitate progress and improvement. Both group
vision; and the accurate construction of ellipses. and individual critiques are considered, citing the
Chapter Three, an elaboration of Chapter Two, ex- unique aspects and advantages of each. Key questions
plores more advanced perspective techniques. Topics for critiquing are provided to help guide the process of
include constructing mathematically precise cubes; identifying strengths and weaknesses in one's own work
using measuring lines for equal and unequal divisions of and the work of others. These questions are organized
an area; creating inclined planes such as stairways, roof- into categories such as composition, drawing, figure
tops, and box flaps; drawing geometric solids derived drawing, perspective, and color.
from cubes; transparent construction as a method for Chapter Seven provides an extensive discussion of
drawing a variety of cube-based objects; an introduction drawing materials and elaborates on both traditional and
to three-point perspective; and a series of perspective ex- non-traditional drawing media, drawing papers, and
ercises based on both observation and invention that other substrates. Included are instructions for alterna-
offer opportunities for a more creative exploration of tive processes that can be combined with drawing, such
both technical and freehand perspective. as photocopy or laser print transfers and Lazertran
Chapter Four applies basic drawing principles to the transfer processes that expand the experience of draw-
unique challenges presented by the human form, intro- ing. Numerous drawings and mixed media work by ad-
ducing information vital to studying and drawing the vanced students and widely recognized contemporary
figure. Included are guidelines for classroom etiquette artists are provided.
when drawing from a model; the application of sighting An Appendix features the work of more than 20 con-
in relation to the human figure; a comparison of male temporary artists whose studio practice is centered on
and female proportions; key elements of gesture draw- drawing and whose work both reinforces and expands
ing; consideration of volume and space in relation to the upon the traditional definitions of drawing. Some work fo-
figure; an in-depth discussion of portraiture; exercises cuses on representation and observationally based drawing,
for "mapping" the figure in an observed spatial environ- while other work explores expressive and/or interpretive
ment; the importance of artistic anatomy in the study of approaches to the practice of drawing. A brief discussion of
the figure; and a comprehensive outline and discussion the conceptual emphasis of each artist's work provides a
of significant skeletal and muscle structure that forms framework for understanding his or her intentions.
the basis for understanding artistic anatomy. Rather than rely primarily on illustrations by histori-
Chapter Five addresses both color theory and the cal masters and some contemporary artists, I've chosen to
use of color media in drawing. Beginning with an ex- include many illustrations created by students at all levels
ploration of fundamental color theory, the chapter pro- who have studied at Kendall College of Art and Design.
gresses to an in -depth investigation of color drawing Students of drawing have many resources for viewing the
media, specifically colored pencils, soft pastels, and oil work of established artists, but, for the beginning student,
pastels. Each medium is discussed individually with in- a textbook full of masterworks can be intimidating and
formation regarding the characteristics of the medium, even discouraging. To see what other students can accom-
information regarding student-grade and artist-grade plish using this book as a course of study establishes more
materials, tools and accessories for working with the accessible goals based on the work of peers. This edition
medium, advantages and disadvantages inherent in also provides powerful examples of what more advanced
working with each medium, suitable papers and other students can accomplish with a strong foundation draw-
substrates, and techniques and processes specific to ing background. Additionally, there are carefully selected
each medium. Over fifty full-color illustrations accom- drawings by historical masters and contemporary artists
pany the text to clarify the concepts being presented. throughout the book whose work highlights the accom-
Chapter Six begins with a discussion of the process plishments of the masters and the significance of drawing
of generating ideas and continues with a discussion of in contemporary studio practice.
 PREFAC~ Xiii

This edition reflects my belief that drawing is the Twenty-two artists and examples of their work are
backbone for nearly all of the visual arts. Whether it is featured in the Contemporary Art: A Gallery ofDrawings
used as an end unto itself or as support for other forms of appendix. The appendix in the third edition has been ex-
expression (painting, printmaking, sculpture, illustra- panded to include new work by Nathan Heuer and the
tion, story boards, furniture design, industrial design, addition of four new artists and their work-Aneka
interior design, architectural blueprints, advertising Ingold, Ian Ingram, Zaria Forman, and Juan Perdiguero.
design, etc.), the ability to draw is an invaluable skill and Ninety-eight works are featured, including thirty-two
drawing is an exquisitely expressive medium. new works in full color.
In choosing the artists featured in Contemporary Art:
A Gallery of Drawings, I am especially interested in pro-
New to This Edition viding examples of a variety of traditional and experi-
mental media, techniques, and substrates, a range of
I have updated the book throughout, making numerous subject matter, and various strategies employed in the
changes and additions that are mostly image-based. In expression of ideas. This variety includes drawings made
response to suggestions from both students and instruc- from direct observation, drawings that rely on photo-
tors who use the second edition of Drawing Essentials, I graphic sources, drawings that explore expressive inter-
have included nineteen new works from historical mas- pretation, drawings that engage with imaginative
ters to illustrate a number of key concepts. This includes invention, drawings that are dependent upon color
nine additional masters' works in Chapter One, one in media, and drawings that utilize color as a secondary or
Chapter Two, seven in Chapter Four, and two in Chapter supportive component, as well as achromatic drawings,
Five. mixed media drawings, and more. There is so much
Chapter Four, with a continued emphasis on the work to choose from , and it is a daunting task to narrow
figure and artistic anatomy, includes additional talking my options to a manageable number of artists and their
points in relation to the skeletal structure and its impact work. I hope you enjoy the work featured in A Gallery of
on the human body. These talking points help students Drawings.
to understand the skeletal structure more thoroughly as For the first time in this third edition, I am including
well as helping them to compare and contrast various (when possible) the name of the instructor with whom
components of the skeleton and their specific functions. a student worked when I use a student drawing as an il-
Recognizing similarities and differences in the structure lustration. In earlier editions of Drawing Essentials as
and function of various parts of the skeleton takes the well as The Art of Teaching Art, the majority of the student
experience of studying artistic anatomy beyond simple work I used was drawn by students in my classes. As the
memorization and helps to create a curiosity concerning structure of programs at Kendall transformed over the
the presence and function of anatomy in our own bodies. years and enrollment continued to expand, additional
A good amount of the student work included through- faculty were hired and multiple sections of courses were
out Drawing Essentials is created by students in founda- offered, providing me with much more great student work
tion-level courses. In acknowledging the positive impact to use in subsequent editions. I am grateful for the access
of strong foundational skills on the work of more mature I have to all of the student work created under the instruc-
artists, I also continue to include the work of advanced tion of my colleagues. In those instances where no in-
undergraduate students in our BFA programs as well as structor is noted, either the instructor is unknown or I
graduate students in our MFA programs. Individual was the instructor.
drawings by contemporary artists, some well-known and This third edition of Drawing Essentials is the culmi-
others lesser known, can also be found throughout Draw- nation of thirty-four years of teaching experience and
ing Essentials. I think it is beneficial for both students and represents my passion for all that drawing is, my love for
instructors to experience a variety of work from diverse teaching and learning, and my desire to assist both stu-
sources in providing visual examples as companions to dents and instructors in their pursuit of excellence.
text. In Chapters One through Seven, there are seventy- Without question, the student of drawing embarks on a
two new works included. Some of these new works re- life-changing journey of great challenge, reward, and
place works from the second edition, while other new personal responsibility. I hope this book enriches your
works expand upon the existing illustrations. travels all along the way!
xiv ~AEFACE

Acknowledgments Community College; Scott Wakefield, Community Col-

lege of Aurora; Ben Willis, Arizona State University; and
Many people have encouraged, supported, and assisted two anonymous reviewers. Your feedback and support
me in preparing the third edition of Drawing Essentials. are invaluable.
Thanks to my dearest friends- Daniel Dauser, Many thanks to the following galleries, museums,
Stephen and Anna Halko, Patrick Foley, Barbara Corbin, foundations, and individuals who granted me permis-
Gypsy Schindler, Pam Potgeter, and Linda Burton-for sion to reproduce artists' works at no cost: Ann Nathan
your love, your friendship, and your support. Gallery, Chicago; Byrneboehm Gallery, Grand Rapids,
Thanks to my students, without whom there would MI; Derek Eller Gallery, New York; Etherton Gallery,
be no book. All of you inspire me most to share my expe- Tucson, AZ; Goff and Rosenthal Gallery, New York;
rience of teaching and my passion for drawing. From Greg Kucera Gallery, Seattle, WA; jeff Bailey Gallery,
first-year students to seniors, from undergraduate to New York; The ). Paul Getty Museum, Los Angeles;
graduate students, it is your work that breathes life into LaFontsee Galleries, Grand Rapids, MI; Von Lintel
my words. Gallery, New York; and Richard Grant, Executive Director
Thanks to my colleagues at Kendall College of Art of the Richard Diebenkorn Foundation, for your generous
and Design from whom I have learned so much over the permission to reproduce drawings by Richard Diebenkorn.
years, especially my colleagues from the drawing and Thanks to Manfred Maier, author of Basic Principles of
printmaking programs. I am grateful to be surrounded Design, for providing permission to reproduce student
by people who share my passion for teaching and who work from the School of Design in Basel, Switzerland. I am
somehow find time to continue making art in the midst grateful to all of you for your generosity.
of all that you do: Stephen Halko, Marie! Versluis, Gypsy Special thanks to all of the professional artists who
Schindler, Danielle Wyckoff, Patricia Constantine, graciously provided permission for the use of their work,
Devin DuMond, Sarah Weber, Taylor Greenfield, and including Michael Alderson, Kelly Allen, Ralph Allured,
Sarah Knill. I value your commitment to your students joe Biel, Matthew Boonstra, Sandra Burshell, jay
and your colleagues. Special thanks to former President Constantine, Dustan Creech, Bailey Doogan, Stephen
David Rosen for providing me with release time to work Duren, Dan Fischer, Zaria Forman, Dan Gheno, Damian
on this third edition. Goidich, Daniel E. Greene, Tracy Haines, Stephen
Thanks to my editor, Richard Carlin, for guiding me Halko, Linda Lucas Hardy, Nathan Heuer, Marianna
through the revision process, and to Emily Schmid and Heule, Aneka Ingold, Ian Ingram, Kiel johnson,
Meredith Keffer, editorial assistants, for answering all of Kristopher jones, Lilian Kreutzberger, Margaret Lazzari,
my questions and for patiently listening to me. Thanks Sangram Majumdar, Seth Marosok, Taylor Mazer,
to all of the people at Oxford University Press who have Armin Mersmann, Antony Micallef, Lance Moon, Rian
assisted me in so many ways and have shared my desire Morgan, juan Perdiguero, Chloe Piene, Ben Polsky, Leah
for the highest quality results, including Micheline Fred- Gregoire Prucka, julia Randall, jon Rappleye, joshua
erick, Production Editor, and Frederick Burns, Copy Risner, Annie Murphy-Robinson, Alan Rosas, Phil
Editor. Scally, Gypsy Schindler, Robert Schultz, jenny Scobel,
Thanks to those of you in academia who took the Steven Spazuk, joseph Stashkevetch, Scott Van Der
time and energy to provide comments and feedback as Velde, and Rob Womack.
reviewers: Barbara Giorgio-Booher, Ball State Univer- Thanks to my siblings, Rick, Craig, and Lisa. While
sity; Michael Dixon, Albion College; Patricia Fox, Great we may view the world through very different lenses,
Basin College; Margaret Griffith, Rio Hondo College; your support is something I can always count on.
Anne Hoff, College of Southern Nevada; Cheryl Finally, and most importantly, love and gratitude to
Knowles-Harrigan, Atlantic Cape Community College; my partner, Courtny, and my son, Logan. Your pa-
Treelee MacAnn, Coastal Carolina University; Susan tience and support during the revision process has
Moss, Fort Lewis College; Charles jason Smith, Carteret been such a gift! I couldn't have done it without you .
DRAWING ESSENTIALS
INTRODUCTION

s a practice that has been a significant aspect charcoal on reconstructed plank walls from slave-era

A of art making for centuries, drawing is de-

fined in an increasingly fluid way in post-
modern and contemporary culture, embracing
dwellings, or Sol Lewitt's wall drawings that are exe-
cuted by others based on his instructions, or the work
of Jennifer Pastor, Mary Borgman, and Wangechi
traditional practices of drawing as well as more ex- Mutu, all of whom draw on Mylar, or Jenny Scobel's
perimental and pluralistic practices. Drawing, along graphite drawings on gessoed panels that are sealed
with other disciplines, is responding to the increas- in wax, a substrate and material typically associated
ing dissolution of discipline-based boundaries as with painting.
evidenced in the work of many contemporary artists Drawing is sometimes defined in terms of materi-
and in the structure of many BFA and MFA pro- als or media so that drawing material on any surface,
grams around the country. Consequently, drawing paper or not, is defined as a drawing. But how do we
continues to stand in both tradition and innovation, define drawing material? There is no question that
depending on the artist's desire. charcoal, graphite, conte, and ink are drawing materi-
This duality of tradition (based on historical no- als, although they often show up as elements in work
tions of drawing) and innovation (based on contem- from other disciplines. What about ink washes? On
porary notions of drawing) is, in my experience, one paper, they are considered drawings. Does this mean
of the hallmarks of a successful drawing program and that watercolor executed on paper is also a drawing
forms the basis for the drawing program at Kendall medium? If not, why not? Is it because of the aspect of
College of Art and Design. Drawing is offered as a color that is integral to watercolor?
concentration in both the BFA and MFA programs Drawing is sometimes defined as achromatic
and provides support courses to both fine arts and or monochromatic, lacking any significant use of
applied arts programs throughout the college. Initial color. This particular definition discounts the pri-
course work in the undergraduate drawing program mary role that color can play in drawing and does
provides students with strong fundamental skills and not take into account the use of colored pencil, soft
experiences rooted in tradition, while intermediate pastel, oil pastel, and other color media that are of-
and advanced course work progresses toward a broad ten used in the context of drawing. Consider Julie
working definition of drawing that supports students Mehretu's oversized works on paper that explode
whose technical emphasis is more traditional as well with color, Elizabeth Peyton's colored pencil and wa-
as students who wish to expand on or work outside of tercolor drawings, the mixed-media color drawings
a traditional definition of drawing. of Jockum Nordstrom and Shahzia Sikander, Steve
Regarding the definition of drawing, it is increas- DiBenedetto's vibrant colored pencil works on paper,
ingly difficult to clarify what is or is not a drawing in or Amy Cutler's gouache on paper drawings. There
artworks that do not fit cleanly within narrow defi- are many examples of artists working in drawing who
nitions or clearly defined discipline-based boundar- incorporate color as a significant element.
ies. In fact, it is often easier to determine what is not Drawing has historically been thought of as inti-
a drawing. Although the definition of drawing as a mate or small in scale, although we know that this
material practice is fluid and embraces both tradi- is no longer a valid characterization. Drawings have
tiona! definitions and revised contemporary ones, exploded in scale, in part because paper manufactur-
there remain obvious instances where works are not ers are producing larger sheets and oversized rolls of
drawings-for example, oil paint on canvas. high-quality paper that allow for large-scale works,
But still we grapple with definition. Drawing is and in part because they have been liberated from the
sometimes defined as any work on paper that is not traditional paper substrate. Some examples of draw-
specifically photography or printmaking. But con- ings that move outside of the frame and emerge from
sider the work of Whitfield Lovell, who draws with beneath protective glass include Toba Khedoori's

_j
2 ~ TR O DU C TI ON

wall-size graphite drawings, the large-scale drawings twenty years. These new works demonstrate the rich-
of Los Carpinteros (a Cuban collaborative group), ness and complexity of the medium of drawing and its
and Robert Longds ongoing series of wall-size char- central position in the artistic process, and catapult the
coal and ink drawings on paper. In some cases very Museum's collection into an unequaled position for
large paper pieces hang freely on the wall, while in contemporary drawing:' Selections from the collection
other instances the paper is mounted on wood or a were featured at MOMA in a major 2009-2010 exhibi-
stretched canvas backing for additional support. tion titled Compass in Hand.
Finally, how do we characterize the work of South It is clear that contemporary drawing is alive and
African artist William Kentridge? His beautiful and well and receiving considerable critical attention
evocative charcoal drawings (with occasional pas- as a force to be reckoned with in contemporary art,
sages of red or blue soft pastel) are executed on paper particularly in the hands of the upcoming genera-
and recorded on film/video as they shift and change tion of younger artists. Recent books and exhibitions
through additive and subtractive processes, result- dedicated to the drawing practice of established and
ing in both finished and framed drawings as well as emerging contemporary artists are highlighting the
hand-drawn animated films. The drawings become significance of drawing in the twenty-first century,
films; the films are a record of drawings. including the work of Michael Borremans, Robert
Many contemporary art organizations, exhibitions, Longo, Amy Cutler, Julie Mehretu, Damien Hirst,
and publications, such as the Drawing Center in New Gerhard Richter, Jenny Saville, Rachel Whiteread,
York City, Drawing Now: Eight Propositions (Museum Anthony Goicolea, Marcel Dzarna, Ethan Murrow,
of Modern Art, 2002), Vitamin D: New Perspectives Vija Celmins, William Kentridge, Tracy Emin, Sophie
in Drawing (Phaidon Press, 2005), and Vitamin D2: Jodoin, Odd Nerdrum, and many more.
New Perspectives in Drawing (Phaidon Press, 2013), Within my own practice as an artist and a teacher,
increasingly interpret drawing as broadly as possible, I believe in the significance of introductory experi-
encompassing both draftsmanship and experimental ences that acknowledge and embrace the technical
art to emphasize the complexity, variety, innovation, and formal traditions of drawing, ultimately provid-
and relevance of the practice of drawing in contem- ing the context for a broader scope of contemporary
porary art. Some of the materials and supports that drawing practices. Students benefit from exploring
comprise this expanded definition of contemporary both objective observation and subjective interpreta-
drawing include graphite, charcoal, ink, watercolor, tion, with emphasis on the interdependence of process
gouache, pencil, crayon, conte, acrylic, felt-tip pen, and product. At more advanced levels there is a broad-
colored pencil, marker, gunpowder, ballpoint pen, oil, ened exploration of drawing that includes alternative
latex paint, carbon paper, chalk, soft pastel, correction and mixed-media drawing processes as potential ele-
fluid, cut paper, wax, gesso, silverpoint, carbon, used ments in the advanced investigation of drawing as a
motor oil, paper of all kinds (including gessoed paper, vehicle for personal expression. Drawing thrives as an
tracing paper, vellum, Mylar, newspaper pages, craft independent discipline, as an element of mixed-media
paper, found paper), photographs, photocopies, raw investigation, and as a vital resource for the investiga-
wood, painted or prepared wood, acetate, blackboard, tion of other disciplines.
cardboard, walls, and canvas. It is my hope that the third edition of Drawing
In 2005, the Museum of Modern Art in New York Essentials will provide a resource for any student who
announced the acquisition of the Judith Rothschild is passionate about learning to draw. I am confident
Foundation Contemporary Drawings Collection, com- that the instruction and guidance offered here pro-
prising nearly 2,600 drawings by more than 640 ma- vides a solid foundation for further investigation of
jor and emerging artists toward the achievement of its drawing and related disciplines at both a personal and
goal to assemble "the widest possible cross section of advanced level.
contemporary drawing made primarily within the past -d.a.r.
Essential Skills and Information
What Every Student Should Know About Drawing

Sighting and the Use form in space, you must make the translation yourself.
The process of sighting provides a great method for
of a Sighting Stick making this translation easily and effectively.
orne of you have been introduced to sighting,

S and some of you have not. Even for those of you

who have been introduced to this method of
observation, students often acknowledge that they go
GU IDELINES FOR SIGHT ING
A sighting stick is the basic tool for the process of sight-
through the motions of sighting without really ing. I recommend using a 10" to 12" length of Vs" dowel
understanding what they are doing and why it works. stick. Suitable alternatives include a slender knitting
In this situation, sighting provides little assistance to needle, a shish kebab skewer, or a length of metal cut
you and may simply contribute to a sense of frustration from a wire clothes hanger. Your sighting stick should
and confusion. A basic understanding of the principles be straight. I discourage the use of a drawing pencil
of sighting goes a long way in helping you to embrace as a sighting stick simply because the thickness of
and use the process to your advantage. the pencil often obscures information when sighting.
A more slender tool interferes less with observing what
is being drawn. However, in the absence of a more suit-
WHY USE S IGHTING?
able tool, a pencil will suffice. Some people like to add
Many of you have found that you are shining stars color to their sighting stick so that it is visually distinct
when it comes to copying photographs or working from what they are observing.
from other existing two-dimensional sources. But you It can be helpful when learning how to sight if you
may be confounded when you discover that drawing initially practice making your observations from a
from observation of three-dimensional forms does projected image or an enlarged print of a still life or a
not yield the same results, the same degree of accuracy figure. If you choose to do this, the two-dimensional
to which you are accustomed. It is helpful to under- image you are sighting should be large enough to see
stand why this occurs. with ease and should be positioned on a wall far enough
Drawing or representing a three-dimensional object away from you so that you can fully extend your arm.
on a two-dimensional surface requires in essence alan- Sighting from two-dimensional information is much
guage translation. The language of two dimensions is easier than sighting from three-dimensional informa-
different than the language of three dimensions in that tion because the image is already in a two-dimensional
three dimensions have depth, occupying space both up language. Once you begin exploring sighting in rela-
and down, side to side, and forward and backward. You tion to actual three-dimensional objects, you will rec-
must observe the three-dimensional form and trans- ognize the increased complexity.
late it into a language that will be effective on a two- Because the objective of sighting is to translate ob-
dimensional surface, such as a piece of drawing paper. served information into a two-dimensional language, all
When you draw from an existing two-dimensional of your sighting observations will take place in an imagi-
source, such as a photograph, the translation from nary two-dimensional plane that is parallel to your face.
three dimensions to two dimensions has already been It may be helpful to imagine that a pane of glass is float-
made for you. But when you are referring to the actual ing directly in front of your face at arm's length. If you
_j 3
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 AGRICULTURE, FARMING,
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THE COMPLETE GRAZIER AND FARMER’S AND

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Commission on Agriculture, 1893, Author of “The Elements of
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Summary of Contents.

Book I. On the Varieties, Breeding, Rearing, Fattening and

Management of Cattle.
Book II. On the Economy and Management of the Dairy.
Book III. On the Breeding, Rearing, and Management of Horses.
Book IV. On the Breeding, Rearing, and Fattening of Sheep.
Book V. On the Breeding, Rearing, and Fattening of Swine.
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FARM ENGINEERING, The COMPLETE TEXT-

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THE ROTHAMSTED EXPERIMENTS AND THEIR

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cloth.
[Just Published. 3/6
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FERTILISERS AND FEEDING STUFFS.

A Handbook for the Practical Farmer. By Bernard Dyer, D.Sc.
(Lond.) With the Text of the Fertilisers and Feeding Stuffs Act
of 1893, &c. Third Edition, Revised. Crown 8vo, cloth.
[Just Published. 1/0
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BEES FOR PLEASURE AND PROFIT.
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Samson. With numerous Illustrations. Crown 8vo, cloth
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BOOK-KEEPING for FARMERS and ESTATE

OWNERS.
A Practical Treatise, presenting, in Three Plans, a System
adapted for all Classes of Farms. By Johnson M. Woodman,
Chartered Accountant. Second Edition, Revised. Crown 8vo,
cloth
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WOODMAN’S YEARLY FARM ACCOUNT BOOK.

Giving Weekly Labour Account and Diary, and showing the
Income and Expenditure under each Department of Crops,
Live Stock, Dairy, &c., &c. With Valuation, Profit and Loss
Account, and Balance Sheet at the End of the Year. By Johnson
M. Woodman, Chartered Accountant. Second Edition. Folio,
half-bound
Net 7/6
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THE FORCING GARDEN.

 Or, How to Grow Early Fruits, Flowers and Vegetables. With
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Frames. With Illustrations. By Samuel Wood. Crown 8vo, cloth
3/6
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A PLAIN GUIDE TO GOOD GARDENING.

Or, How to Grow Vegetables, Fruits, and Flowers. By S. Wood.
Fourth Edition, with considerable Additions, and numerous
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MULTUM-IN-PARVO GARDENING.
Or, How to Make One Acre of Land produce £620 a year, by
the Cultivation of Fruits and Vegetables; also, How to Grow
Flowers in Three Glass Houses, so as to realise £176 per
annum clear Profit. By Samuel Wood, Author of “Good
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THE LADIES’ MULTUM-IN-PARVO FLOWER

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POTATOES: HOW TO GROW AND SHOW THEM.

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MARKET AND KITCHEN GARDENING.

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 AUCTIONEERING, VALUING, LAND
SURVEYING, ESTATE AGENCY, &c.

INWOOD’S TABLES FOR PURCHASING

ESTATES AND FOR THE VALUATION OF
PROPERTIES,
Including Advowsons, Assurance Policies, Copyholds, Deferred
Annuities, Freeholds, Ground Rents, Immediate Annuities,
Leaseholds, Life Interests, Mortgages, Perpetuities, Renewals
of Leases, Reversions, Sinking Funds, &c., &c. 26th Edition,
Revised and Extended by William Schooling, F.R.A.S., with
Logarithms of Natural Numbers and Thoman’s Logarithmic
Interest and Annuity Tables. 360 pp., Demy 8vo, cloth.
[Just Published. Net 8/0
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of compensation cases, as well as in transactions in annuities, life insurances, &c.,
will find the present edition of eminent service.”—Engineering.
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labours of Mr. Schooling, and is now very complete indeed.”—Economist.
“Altogether this edition will prove of extreme value to many classes of
professional men in saving them many long and tedious calculations.”—Investors’
Review.

THE APPRAISER, AUCTIONEER, BROKER,

HOUSE AND ESTATE AGENT AND VALUER’S
POCKET ASSISTANT.
 For the Valuation for Purchase, Sale, or Renewal of Leases,
Annuities, and Reversions, and of Property generally; with
Prices for Inventories, &c. By John Wheeler, Valuer, &c. Sixth
Edition, Re-written and greatly Extended by C. Norris,
Surveyor, Valuer, &c. Royal 32mo, cloth
5/0
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arranged list of prices for inventories, and a very practical guide to determine the
value of furniture, &c.”—Standard.
“Contains a large quantity of varied and useful information as to the valuation
for purchase, sale, or renewal of leases, annuities and reversions, and of property
generally, with prices for inventories, and a guide to determine the value of interior
fittings and other effects.”—Builder.

AUCTIONEERS: THEIR DUTIES AND

LIABILITIES.
A Manual of Instruction and Counsel for the Young
Auctioneer. By Robert Squibbs, Auctioneer. Second Edition,
Revised and partly Re-written. Demy 8vo, cloth
12/6
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“The work is one of general excellent character, and gives much information in
a compendious and satisfactory form.”—Builder.
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relating to auctioneers, in a very readable form.”—Law Journal.
“Auctioneers may be congratulated on having so pleasing a writer to minister
to their special needs.”—Solicitors’ Journal.

THE AGRICULTURAL VALUER’S ASSISTANT.

A Practical Handbook on the Valuation of Landed Estates;
including Example of a Detailed Report on Management and
Realisation; Forms of Valuations of Tenant Right; Lists of
 Local Agricultural Customs; Scales of Compensation under the
Agricultural Holdings Act, and a Brief Treatise on
Compensation under the Lands Clauses Acts, &c. By Tom
Bright, Agricultural Valuer. Author of “The Agricultural
Surveyor and Estate Agent’s Handbook.” Third Edition,
Revised and further Enlarged. Crown 8vo, cloth.
[Just Published. Net 6/0
“Full of tables and examples in connection with the valuation of tenant-right,
estates, labour, contents and weights of timber, and farm produce of all kinds.”—
Agricultural Gazette.
“An eminently practical handbook, full of practical tables and data of
undoubted interest and value to surveyors and auctioneers in preparing valuations
of all kinds.”—Farmer.

POLE PLANTATIONS AND UNDERWOODS.

A Practical Handbook on Estimating the Cost of Forming,
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Underwoods, their Valuation for Purposes of Transfer, Rental,
Sale or Assessment. By Tom Bright. Crown 8vo, cloth
3/6
“To valuers, foresters and agents it will be a welcome aid.”—North British
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“Well calculated to assist the valuer in the discharge of his duties, and of
undoubted interest and use both to surveyors and auctioneers in preparing
valuations of all kinds.”—Kent Herald.

AGRICULTURAL SURVEYOR AND ESTATE

AGENT’S HANDBOOK.
Of Practical Rules, Formulæ, Tables, and Data. A
Comprehensive Manual for the Use of Surveyors, Agents,
Landowners, and others interested in the Equipment, the
Management, or the Valuation of Landed Estates. By Tom
 Bright, Agricultural Surveyor and Valuer, Author of “The
Agricultural Valuer’s Assistant,” &c. With Illustrations. Fcap,
8vo, Leather.
[Just Published. Net 7/6
“An exceedingly useful book, the contents of which are admirably chosen. The
classes for whom the work is intended will find it convenient to have this
comprehensive handbook accessible for reference.”—Live Stock Journal.
“It is a singularly compact and well informed compendium of the facts and
figures likely to be required in estate work, and is certain to prove of much service
to those to whom it is addressed.”—Scotsman.

THE LAND VALUER’S BEST ASSISTANT.

Being Tables on a very much Improved Plan, for Calculating
the Value of Estates. With Tables for reducing Scotch, Irish,
and Provincial Customary Acres to Statute Measure, &c. By R.
Hudson, C.E. New Edition. Royal 32mo, leather, elastic band
4/0
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THE LAND IMPROVER’S POCKET-BOOK.

Comprising Formulæ, Tables, and Memoranda required in any
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Landed Property. By John Ewart, Surveyor. Second Edition,
Revised. Royal 32mo, oblong, leather
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THE LAND VALUER’S COMPLETE POCKET-

BOOK.
 Being the above Two Works bound together. Leather
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HANDBOOK OF HOUSE PROPERTY.

A Popular and Practical Guide to the Purchase, Mortgage,
Tenancy, and Compulsory Sale of Houses and Land, including
Dilapidations and Fixtures: with Examples of all kinds of
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Decorative Art. By E. L. Tarbuck, Architect and Surveyor. Sixth
Edition. 12mo, cloth
5/0
“The advice is thoroughly practical.”—Law Journal.
“For all who have dealings with house property, this is an indispensable
guide.”—Decoration.
“Carefully brought up to date, and much improved by the addition of a
division on Fine Art. A well-written and thoughtful work.”—Land Agent’s Record.
 LAW AND MISCELLANEOUS.

MODERN JOURNALISM.
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Journalists. Crown 8vo, cloth
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HANDBOOK FOR SOLICITORS AND

ENGINEERS
Engaged in Promoting Private Acts of Parliament and
Provisional Orders for the Authorisation of Railways,
Tramways, Gas and Water Works, &c. By L. Livingstone
Macassey, of the Middle Temple, Barrister-at-Law, M. Inst. C.E.
8vo, cloth
£1 5s.

PATENTS for INVENTIONS, HOW to PROCURE

THEM.
Compiled for the Use of Inventors, Patentees and others. By
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CONCILIATION & ARBITRATION in LABOUR
DISPUTES.
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EVERY MAN’S OWN LAWYER.

A Handy-Book of the Principles of Law and Equity. With a
Concise Dictionary of Legal Terms. By A Barrister. Thirty-
seventh Edition, carefully Revised, and including New Acts of
Parliament of 1899. Comprising the London Government Act,
1899; Sale of Food and Drugs Act, 1899; Infectious Diseases
Notification Act, 1899; Small Dwellings Acquisition Act, 1899;
Commons Act, 1899; besides the Benefices Act, 1898;
Marriage Act, 1898; Inebriates Acts, 1898 and 1899; Criminal
Evidence Act, 1898; Vaccination Act, 1898, &c. Judicial
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8vo, 750 pp., strongly bound in cloth.
[Just Published. 6/8
⁂ This Standard Work of Reference forms a Complete Epitome of the
Laws of England, comprising (amongst other matter):
The Rights and Wrongs of Individuals—Landlord and Tenant—
Vendors and Purchasers—Leases and Mortgages—Principal and Agent—
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THE PAWNBROKER’S, FACTOR’S, AND
MERCHANT’S GUIDE TO THE LAW OF
LOANS AND PLEDGES.
With the Statutes and a Digest of Cases. By H. C. Folkard,
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LABOUR CONTRACTS.
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SUMMARY OF THE FACTORY AND WORKSHOP

ACTS
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