Strokes of genius 7 : the best of drawing : depth, dimension and space 9781440336713, 1440336717

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Strokes of Genius

ART TECHNIQUES | DRAWING

“We may have formulas for creating perspective, but don’t assume that reality follows suit; reality is much more unexpected.” • AMBER-ROSE HULME, P61

7

Strokes of

“A spectator cannot mentally step into an artist’s creation without depth.”

Gen Ge nius

THE

• HANS GUERIN, P65

ING

DEPT TH,

TELL ME MORE ABOUT “SHEEP” BY ANN RANLETT, P 71

THE BEST OF DRAWING

THERE IS SOMETHING ALMOST MAGICAL

about looking at a two-dimensional surface and experiencing a visceral sense of depth and dimension. In this 7th edition of the celebrated Strokes of Genius series, 120 of today’s best artists share successful approaches to creating that wondrous illusion of space—from a tight, shallow place that reflects the emotional state of the model, to wide open vistas that seem to go on forever.

DEPTH, DIMENSION & SPACE

INSIDE YOU’LL FIND: • 135 inspirational drawings in charcoal, pencil, pastel, colored pencil, pen and ink, scratchboard and more • an exciting diversity of styles and techniques, presented in subject-themed chapters: portraits, landscapes, animals, still lifes and figures • practical artist-to-artist advice, insights and anecdotes you won’t find anywhere else

ABOUT THE EDITOR Rachel Rubin Wolf is a freelance editor and artist. She has edited and written many fine art books for North Light including Watercolor Secrets; the Splash: The Best of Watercolor series; the Strokes of Genius: Best of Drawing series; The Best of Wildlife Art (editions 1 and 2); The Best of Portrait Painting; Best of Flower Painting 2; The Acrylic Painter’s Book of Styles and Techniques; Painting Ships, Shores and the Sea; and Painting the Many Moods of Light. She also has acquired numerous fine art book projects for North Light Books and has contributed to magazines such as Fine Art Connoisseur and Wildlife Art.

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Books on art theory put forth concepts like contrast, edges and perspective. Strokes of Genius brings those theories to life, showing how today’s artists put them to work. Each drawing is a unique, real-world lesson on how to manipulate value, light, shadows, details and more to evoke a feeling of depth and invite the viewer in.

US $37.00

(CAN $42.00)

WOLF

ISBN-13: 978-1-4403-3671-3 ISBN-10: 1-4403-3671-7

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781440 336713

Edited by Rachel Rubin Wolf 8/3/15 9:48 AM

7

Strokes of

Geniuss

THE BEST OF DRAWING

DEPTH,

DIMENSION SPACE

&

CINCINNATI, OHIO

artistsnetwork.com

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“Space in three dimensions is easily implied by linear perspective using parallel lines, either visible or implied, converging in the distance at a vanishing point.” • GINA RUGITO-ANDERSON

ON A DOWN TIME TRAIN. GINA RUGITO-ANDERSON Colored pencil on vellum bristol paper / 14" × 17" (36cm × 43cm)

My fascination with linear perspective, light and color is matched only by my fascination with people. On my first visit to New York City, I snapped a photo on the subway while heading to Times Square. I was intrigued with each rider’s self-imposed isolation. It was an unexpected moment of tranquility below the hustle and bustle of the hectic city above … downtime. The elements that I used to suggest depth and dimension include linear perspective, occlusion, size and scale, cast shadows, texture, color and more!

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Contents Introduction 6

4 PORTRAIT GALLERY 8

LANDSCAPES & SCENES 42

ANIMAL KINGDOM 62

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STILL LIFE SUBJECTS 82

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3

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THE FIGURE IN STUDIO & STREET 106

Contributors 136 Index 142 About the Editor 143

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UNFORETOLD EXPECTATIONS. VICTORIA STEEL Charcoal and pastel on paper / 10" × 8" (25cm × 20cm) Please see artist's commentary on page 141.

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BOOK STORIES. MIKE KLIEMAND Graphite on vellum bristol paper / 9½" × 7" (24cm × 18m)

Books and pictures have something in common—they are both paper based and both express our emotions, thoughts and longings. When we look at a picture or read a text, our imagination mingles with what is depicted and brings it to life in our thoughts and emotions. These perceptions create unconscious emotional depth. This topic is the focus of Book Stories, so I tried to keep the background as minimalist as possible. However, to render the objects clearly and convey a certain depth, I have deliberately exaggerated the shadows. I used pencils in a range of 5H to 8B exclusively for finer nuances and bristol vellum paper because of its finer structure.

Introduction It is a pleasure to welcome you to Strokes of Genius 7: Depth, Dimension

of feelings, movement and drama.” David

and Space. I was a bit surprised how much the artists in this book had

Hardy speaks of capturing the “life force” and

to say about our theme. Everyone seemed to relate to it—to the desire

“personal feelings" that are uniquely expressed

to create depth, dimension and space in their drawings. There is a lot

by his model, though he employs a classical

of very good advice in the captions and quotes for artists seeking these

atelier technique that includes modeling the

components in their drawings or paintings.

form with great sensitivity in order to create

Many shared their knowledge of how to create the illusion of three-

lifelike dimensionality.

dimensional depth and space on a two-dimensional surface. A com-

The theme of depth, interpreted as emotional

mon theme, not unexpected, is to understand and be intentional with

depth, prompted a number of artworks with very

how you treat value contrast and edges. But each artist shares his or

real and deeply felt stories behind them. Simone

her own unique angle. David Sandell reminds us of a basic principle:

Tocco reveals that a painful situation motivated

“Areas of high contrast and sharper edges bring things forward; softer

her to find her emotional resilience in her art.

edges and diffuse values push objects back.” Cecile Baird emphasizes

“The story behind this unusual title—Don’t

the priority of light: “Drawing light—how it falls on and bounces off

Contact Me Again—is pretty simple: It was the

objects—and the shadows it forms, is what creates the impression

very last text message I got from my ex. I turned

of three-dimensional shapes in space.” Elena E. Green brings out the

that awful text into the title of one of my best

importance of connecting the background to the subject in order to

artworks.” That story leads neatly to Steven A.

create spatial dimension in a drawing.

Wilda’s memorable words of wisdom: “If your

On the other hand, Lara Marshall agrees that tonal value is important

subject doesn’t intensely move you, move on.”

for developing dimension but feels that good drawing is an even more

We certainly hope that this latest edition of

important component for achieving depth than value: “Value can add a

Strokes of Genius will move you to create some

great deal but only when it is built on top of a solid drawing. When each

of your best drawings to date, more art filled with

line of the drawing is in correct relationship with other lines across the

depth and dimension.

form, depth can be felt even before value is added.” I found it quite interesting that a number of the contributors spoke about the parallels in art between physical (spatial) depth and emotional depth. Artist ARINA speaks of the limitations of the small flat surface plane, then adds, “But once I start, a miracle occurs and all the limitations have gone; there is neither a flat nor a limited surface

—Rachel Rubin Wolf

anymore! A new reality begins with its own three-dimensional world

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Portrait Gallery COURTNEY. DAVID SCULLY Charcoal and pastel on paper / 20" × 25" (51cm × 64cm)

For this piece the design of positive and negative space was most important. I wanted to push the composition and use a large amount of dark valued space to one side to convey a weighted feeling of emptiness and depth. To help with balance, the background behind the subject was lighter in value. This created alternating dark and light values, but the highest contrast was kept at the focus of the piece.

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MADUKY. EMILY GARLICK Charcoal and white pastel on paper / 24" × 18" (61cm × 46cm)

SHADOW ABBY. HOLLY SINISCAL Prismacolor colored pencil on 140-lb. (300gsm) Arches watercolor paper / 18½" × 27" (47cm × 69cm)

A man full of laughter, Maduky changes the dimension of a room when he walks in. I wanted to capture the moment in which his soul alters my emotions. My hope is that when viewers look into his eyes, they will feel the same. I want the drawing to make the world smile. Working from my photo, I used charcoal and white pastel to display his positivity, motivation and hard work, traits I desire to emulate. Keys that will enhance your drawing or painting skill include choosing a work environment that helps clear your mind and surrounding yourself with people who will motivate and encourage you in art and life.

With the soft sculpted silhouette of Abby’s shadow beside her on the wall, I wanted to capture the duality of her audacious spirit and vulnerability. I used bold, rich complementary colors to match the intensity of her gaze and the sharp contours sculpted by shadow. I have been experimenting with different solvents to transform the waxy pencil into a more fluid and painterly appearance. The background was achieved through light pencil strokes, colorless blenders and lastly Bestine solvent, which creates that watercolorlike wash effect. The subject appears heightened with hyper-real detail against this loose expressionistic background.

Visit artistsnetwork.com/strokes7 to download free bonus wallpapers from the Strokes series.

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EVENING IN PARIS. SUZANNE VIGIL Colored pencil on frosted acetate / 18" × 13" (46cm × 33cm)

DIGGS. BRENDEN DAUGHERTY Charcoal and graphite on toned paper / 15" × 22" (38cm × 56cm)

Creating a limited palette figure that springs off the page is a technique I’m developing to replace my full color drawings. The simplicity of gray tones juxtaposed with subtle color in a targeted area leads the viewer’s brain to fill in color. Grays are worked on the front side of the acetate with color on the back side. Each drawing is done from a composite of photos and developed much like an author develops a character. As the figure emerges she begins telling a story. This drawing reminds me of my mother’s skirted dressing table, which always had a bottle of Evening in Paris on a mirrored tray.

The reference photo for Diggs was taken in my shower using my younger brother, nicknamed Diggs, as the model. I stood on the sides of the tub to force a perspective from above the subject. I had my dad pour water on him from over the shower curtain. I took a series of around 100 photos and Photoshopped the best splashes onto one reference. I was able to create the illusion of depth, dimension and space on a 2-D surface using high-contrast lighting, depth of field and by paying more attention to the detail on the face than the background. After all was said and done, I made sure to spend the time it took to make my piece draw the viewer into a different environment.

Visit artistsnetwork.com/strokes7 to download free bonus wallpapers from the Strokes series.

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BEFORE THE FALL (DAD). ELEANOR ADAM Charcoal and graphite on toned paper / 40" × 28" (102cm × 71cm)

I began this drawing of my 90 year old father from life. Before it was finished he fell and fractured both his pelvis and his elbow. I had focused the drawing on the strength that I have always associated with him, but as I continued the drawing from reference photos, I was deeply moved by a new sense of his vulnerability. His accident heightened my tenderness for him, one of the most powerful men I know.

I HEAR HIM IN THE NIGHT. DAVID HARDY Wolff’s carbon pencil no. 4, General’s white charcoal pencil and Ritmo charcoal pencil no. 3 on Canson Mi-Teintes middle-toned gray pastel paper 16" × 20" (41cm × 51cm)

When working from a live model, my focus is intent on capturing the life force, the vitality and the personal feelings that they uniquely express. This is the central core for how I approach working with my model. The model and I form a partnership, a “pulling together” in which we both participate in the evolving creation. When the drawing is finished I turn to my model and thank her.

Tho’ much is taken, much abides; and tho’ We are not now that strength which in old days Moved earth and heaven, that which we are, we are; One equal temper of heroic hearts, Made weak by time and fate, but strong in will To strive, to seek, to find, and not to yield. • FROM “ULYSSES” BY ALFRED, LORD TENNYSON

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RAY. MARIE MAINES Vine charcoal and black and white pastel on Canson paper / 26" × 19½" (66cm × 50cm)

I usually draw architectural structures, but as facilitator in a portrait workshop, I decided to give portraiture a try. My husband, who had never modeled, became our mature male model. With Judy Carducci’s mantra of follow the shadows ringing in my head, I set off on an adventure. I love the searching lines of a drawing and was not timid about leaving them in. Following the simple shadows of the hat and glasses, adding the white in the hair and shirt—voilà!—it looks and feels like him!

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SELF-PORTRAIT. DENNIS W. CHEANEY Black and white Conté crayons on toned paper / 18" × 12" (46cm × 30cm) Photo of artwork by Min Benjamin-Hong

In my self-portrait, depth was suggested by blending soft gradations of black and white Conté crayons. This technique, unlike crosshatching, is perfectly suited to depict the way light reveals form. Working from life over numerous sessions, I adjusted the value gradations on the paper until they closely matched what I observed. It is the depiction of how a form curves toward or away from the light that creates the illusion of depth. This illusion remains a constant fascination.

SHANNON. LACEY LEWIS Graphite on Stonehenge / 20" × 18" (51cm × 46cm)

My son, Shannon, has a connective tissue disorder that causes him to be very lean with elongated bones. I wanted to juxtapose this unique aspect of him with his full head of curls. To highlight the long, angular structure of his face, arms and hands, I left his shirt relatively abstract. Shortly after taking my photo references, my son was hospitalized for two months, and he decided to cut off his locks for ease of care. Creating the portrait became a very emotional experience, as it was a connection to him during a surreal time when he was physically absent.

Visit artistsnetwork.com/strokes7 to download free bonus wallpapers from the Strokes series.

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SELF-PORTRAIT WITH SKULL. STEVEN HUGHES Graphite on 80-lb. (170gsm) bond / 18" × 24" (46cm × 61cm)

After designing the composition using thumbnail sketches, I prepared the torn paper still life and photographed myself pushing through the surface. Beginning with an observational drawing of the skull, I continued with a mixture of photo reference and life drawing. Re-creating the lighting from my photo shoot and situating myself in front of a mirror, I developed the portrait from life, referring to the photo reference for the hands and paper elements to tie everything together. As with Takeout Surprise (see pages 118–119), I was interested in exploring the illusion of space together with flatness, represented by the portrait and skull respectively. The comparison is complex because the skull is executed with light and shadow to create a dimensional drawing, but the person breaking through the paper, in a more complete value range, reveals the skull to be on a flat piece of paper, whereas the viewer can retain the illusion of three-dimensionality for the portrait.

GEORGE. ZIMOU TAN Charcoal pencil, willow charcoal and white chalk on toned, textured pastel paper 30" × 24" (76cm × 61cm)

George is a kind-hearted person I have known for a few years who has gone through many tough times, but always tries to keep others smiling. I wanted the viewer to sense the many stories behind this gentle face. I sketched George from life, then finished with photo reference. The very rough sandpaper surface was a challenge with charcoal. It was very hard to blend or to apply the charcoal evenly or to get details. But my main goal was to capture George’s rare soul.

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ESME’S CURIOSITY. LYNNE GARLICK Charcoal and white pastel on paper / 25" × 17" (64cm × 43cm)

THE FIRELIGHT (LISTENING TO STORIES). ANNIE MURPHY-ROBINSON Charcoal on 140-lb. (300gsm) sanded BFK printmaking paper / 28" × 42" (71cm × 107cm)

Drawing on commission is never easy, as the artist does not choose the subject. When Esme came to pose for me, she was relaxed and curious about the strange situation she found herself in. With a very happy model, some good lighting and a bottle of bubbles, hundreds of reference shots were taken. I found it amazing what could be achieved with emotional understanding and light. What the artist can bring to a commission is the ability to impart the emotion felt at the shoot and emphasize that aspect of the sitter’s personality.

After photographing my daughter, I used a myriad of prints and merged them together, looking for form and shape in the otherwise flattened shadows of the photograph. Starting with a rough sketch of the composition on printmaking paper, I covered the surface with compressed charcoal, paying attention to the areas of light and dark. I then used an electric sander with 400-grain sandpaper and sanded the surface to a ghost image. Then I started with the eye and went from there. Depth and dimension are the vehicles that invite the viewer into the space. I wanted the viewer to feel as if they are the storyteller and are an integral part of the composition.

Visit artistsnetwork.com/strokes7 to download free bonus wallpapers from the Strokes series.

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RUE. RODNEY O’DELL DAVIS Charcoal and white pastel / 14" × 10" (36cm × 25cm)

THE EYE OF THE DAY. ELENA E. GREEN Charcoal and pastel on paper / 16" × 22" (41cm × 56cm)

Ruefulness, or remorse, is an emotion most of us have experienced at some point in our lives. In Rue I wanted to depict regret and sorrow. The best way to capture human emotions is through the eyes, so I had the protagonist face the viewer but look in a sideways direction to help draw the viewer into the drawing. I start my drawing using an HB charcoal pencil. With very light lines I block in my proportions. I use a method called “window shading.” This is done by carefully refining each area to completion before moving on to the next. I slowly build up my values and texture, always working from the macro to the micro.

The Eye of the Day portrays a contemporary version of the enigmatic femme fatale icon Mata Hari. This female archetype of the beguiler of men has always interested me. In this drawing, the protagonist’s gaze seeks out the viewer and suggests an intimate dialogue between the spectator and the subject. Preliminary compositional sketches resulted in the hair shape being designated the dominant design element. Connecting the background to the subject is an important aspect of creating a sense of space that is also considered in the early planning stages. To achieve a sense of dimensional reality, the drawing consists of multiple layers of charcoal and pastel that produce subtle tonal nuances across the form.

Visit artistsnetwork.com/strokes7 to download free bonus wallpapers from the Strokes series.

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JOACHIM. URSULA TOELKE Charcoal and white charcoal pencil on toned paper / 12" × 9" (30cm × 23cm)

I prefer to work from life, but this portrait of my brother was from a photo. Experimenting with having the face in shadow without losing the contrast necessary to create depth, I had him pose outdoors in late afternoon light with some cloud cover. Choosing charcoal, I pushed the nose forward by contrasting its light and dark values; I let his left eye recede by losing the edge of the face to the background. The face darkens as it moves down toward the chin, and I pushed the shadow underneath it on the neck a bit.

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B. MURRAY. TAYLOR J. GREEN Graphite, ink and watercolor on 150-lb. (315gsm) fine-tooth drawing paper / 10" × 6" (25cm × 15m)

This drawing from a published photo is an expression of Bill Murray, the actor, an aging man whose life has allowed him to construct his own colorful world. To capture the unruly gray beard, after trial and error I used (for the first time) a technique that involved indenting the paper to form a ridge over which I passed a soft lead pencil, creating a negative space for the hairs and wrinkles. The red watercolor hat expresses Murray’s vivid untamed qualities.

“Drawing is a constant battle between staying true to nature and using artistic license to clarify obscure areas.” •SHIZUKA N. AOKI

RYAN. SHIZUKA N. AOKI Graphite and carbon pencil on 140-lb. (300gsm) drawing paper / 18" × 12" (46cm × 30cm)

In my work as a medical illustrator, convincing my audience of the location of objects in space is crucial to creating both a compelling and a didactic representation of reality. I avoid making a polished drawing from edge to edge. Lost and found edges contribute to the impression of receding or protruding depth, movement and stillness, and conceptual focal points. I hone in on details at the focal point, always returning to the bigger picture to keep the drawing’s overall spontaneity.

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“Pay special attention to areas that are receding by using less value contrast and softer edges—this will bring forward the more detailed areas and quite easily create the illusion of depth.” • ERICA NORELIUS

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NASEEM. ERICA NORELIUS Charcoal on paper / 24" × 18" (61cm × 46cm)

JOHN THE DISCIPLE. JOHNNY BONE Charcoal on paper / 16" × 20" (41cm × 51cm)

When creating the portrait of Naseem, likeness was not my only consideration. While working on a twodimensional surface, the illusion of depth is one of the artist’s most important considerations. In this portrait, great care was given to bring forward the front of the face by using more detail and stronger value contrasts. Even within the features, there is a hierarchy—the right eye and the right side of the nose come more forward than the left sides. Areas that sit farther back in space, such as the ear and the back of the head, are treated softer in order to recede into the background and heighten the effect of depth.

I met the model for this composition coming out of the grocery store one day. I just knew he was right for posing as John, a disciple of Jesus. I love working from life, but for this, I worked from a computer screen. I find there is more depth from a monitor than from a printed out photo. First I toned the paper with charcoal powder. This gave me my overall middle tone to work from. I utilized white charcoal for the highlights to help push the value range. Pursuing depth, dimension and space is crucial if you want to obtain a sense of air in your drawing. Value range, color temperature, composition and perspective are all factors that contribute to the illusion of dimension.

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“Have a variety of good sharp pencils handy, use natural light and, most important, have fun drawing your masterpiece!” • DEBI PICKLER

CHARACTER. DEBI PICKLER Pencil on paper / 13" × 10" (33cm × 25cm)

SHADOWS. TANJA GANT Graphite and colored pencil on Strathmore bristol paper / 8" × 10" (20cm × 25cm)

Character is an illustration that will forever be close to my heart. When I produce a representational illustration, I focus on very fine, intricate details to emphasize certain aspects of the image. I want to tell the subject’s story and to engage the viewer in that story. But this doesn’t just tell this Bedouin’s story; it tells my own. Character took me years to complete. I worked on it intensely for periods, then put it down and came back to it. My goal of telling the man’s story never changed. But my skills did. I can read the details of the drawing and see how my technique and abilities grew as I created this illustration. So while Character tells the story of a man, it also tells my story.

Shadows was inspired by the strong contrast in values, unorthodox composition, and lines that make the eye glide across the composition and draw the viewer in. I worked from a photograph of my stepson, which I had taken some seven years prior. Being aware that colored pencil doesn’t layer well over graphite, I had to finish the colored pencil parts first (background, figure, stripes on the shirt) before I could add the shadows in graphite on the sofa cushions and the shirt. To give it a little more depth I applied a touch of green to the skin and a few extra strokes of blue to the hair.

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LOOK ON THE BRIGHT SIDE. CYNTHIA C. MORRIS Colored pencil on 4-ply museum board / 15" × 22½" (38cm × 57cm)

THE CLASSIFIEDS. DC MORALE’ Charcoal on paper / 24" × 18" (61cm × 46cm)

The lake and its surroundings is always an inspiration to me. Family outings on my brother’s pontoon generally find me with my camera in hand while most everyone else holds a fishing pole. On this particular outing I found myself “hooked” on my brother’s sunglasses rather than the surrounding nature. The red-rimmed glasses with their gold-mirrored lenses were captivating. The end result was a nice surprise in that the abstracted images within the lenses played perfectly against the realism of the facial features, giving viewers something to reflect on. (Pun intended.) Thus, the beginning of a series of works in which the subjects reflect.

This is a drawing of a young girl I saw sitting on a train. She looked tired and I noticed she was holding a pen and the classifieds from the newspaper. It appeared that she was searching for a job. I thought this figure would be an interesting thing to draw because it reflects the times: how exhausting and tough life can be in the city. I could relate to her exhaustion. I worked on this in charcoal, but more than focusing on technique, my main focus was to pull the energy and emotion out of the girl’s face and put it down on paper.

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“Spatial depth is achieved through proficiency; emotional depth requires a passion for your subject.” • CYNTHIA BRUNK

CHILD (HAIQAL). ANDREJ BLAZON Charcoal and pastel pencils on distressed smooth gray cardstock / 7" × 9½" (18cm × 24cm)

ANNABEL NO. 3. CYNTHIA BRUNK Graphite on Strathmore 500-series bristol board / 14½" × 25½" (37cm × 65cm)

In drawing, physical depth reveals space; depth of emotion reveals the soul. This look into the soul is especially interesting in a child. Similar to a mirror that doubles distances, a child’s eyes, in their lack of artifice, have the ability to reflect emotions transgenerationally. And there lies the treasure of our kind. This portrait was drawn from a photograph that the boy’s father had taken, and I would like to dedicate this to the memory of my dad.

Catching children in quiet, pensive moments can be a challenge. On this perfect midsummer morning, the subject, lighting and background came together magically, and I was able within a few minutes to compose and photograph several promising images. In this piece Annabel has turned to gaze directly at the viewer, as still as the space that surrounds her, offering myriad possibilities for individual interpretation.

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THE ONE – PRELIMINARY DRAWING. JOHN PHILBIN DOLAN Charcoal on Canson Mi-Teintes paper / 12" × 9" (30cm × 23cm)

This drawing represents a rarity for me—a model whose appearance I found so intriguing that I sought him out, after first seeing him in a group drawing session, to model for me privately. He never shared any of his life story, so he remains somewhat a mystery though his face gives hints of his deeper sensibility. I follow classical drawing rules: Accurately draw the shape of the head, work to delineate the large planes, then the smaller planes, then the details of the features along with edges, values and colors.

Visit artistsnetwork.com/strokes7 to download free bonus wallpapers from the Strokes series.

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“Areas of high contrast and sharper edges bring things forward; softer edges and diffuse values push objects back.” • DAVID SANDELL

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“If you use photos for reference, remember to stand back at least 8 feet and zoom in on your subject to prevent distortion— and turn off your flash!” • ELLEN MILINICH

INNER SELF. DAVID SANDELL Derwent and Caran d’Ache Luminance colored pencils on Canson Mi-Teintes sepia-toned paper / 18" × 14" (46cm × 36cm)

This pencil study was in preparation for an oil painting to be used on a friend’s concept music album entitled Twelve, comprising twelve songs about life motivation. I chose a direct pose, drawing from both life and reference photographs with key words taken from the lyrics as a background. In keeping with the depth of his thought-provoking lyrics, I used only a few colors with strong contrasting light from one side, enabling me to render blemishes and creases in the skin and bring out the depth of the songwriter’s personality through split light and shade.

FACING THE FUTURE. ELLEN MILINICH Charcoal and white pastel on Strathmore 500-series charcoal paper / 17" × 15" (43cm × 38cm)

Light creates the illusion of form and space. Light causes shadow that changes in value as it spreads across a curved form. Re-creating these values in two dimensions gives the viewer a sense of space. The natural light of the sun provided the shadows I needed in this portrait of my granddaughter. I probably took 50 photos that morning. I decided to use a photo with dramatic backlighting, with reflected light illuminating her face. I used mostly charcoal pencils, but for the final highlights I lightly stroked on white pastel.

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“I like my work to have an open-ended narrative element to it, leaving the viewer to wonder and imagine their own story from their impressions.” • ROGER SCHMIDT

IN HER EYES. DEAN BUHLER PanPastels and charcoal on paper / 20" × 16" (51cm × 41cm)

PORTRAIT OF JEREMY. ROGER SCHMIDT Black and white charcoal with chalk on Canson Touch gray paper / 16" × 24" (41cm × 61cm)

Personal, yet universal. Three-dimensionality, yet flat, softedged shapes. My goal is to capture the look and pose that radiates the subject’s essence. I start from life to become familiar with my subject and assess values accurately. I finish from photographs to have the time and information necessary to incorporate pore-sized details. To keep drawings painterly, I first apply PanPastel with a rubber-tipped plastic trowel. Then I use black and white charcoal pencils to construct shapes and values more tightly, blending white over black, black over white, back and forth, until I have achieved the desired degree of resolution. I stop when nothing about the drawing bothers me and the expression is all it can be.

The Canson Touch gray paper is quite rough and can hold a lot of charcoal medium. My approach is to rough in the entire drawing with both black and white charcoal pencils. This gives me the foundation and a map. My goal is to achieve a high degree of realism but still end up with a painterly effect. I work back and forth, blending the black and white charcoal as I model the form and build up the surface. As the paper fills, it gets smoother and I can then begin to add in the fine details. I push my darks and lights as if I were drawing from life, though I worked in this case from a photo reference. This creates greater depth and dimension than you typically get from reference photographs. The use of atmospheric perspective was also crucial for this particular drawing.

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DAYDREAMING. GIULIA BUCCIARELLI Charcoal on toned paper / 31" × 18" (79cm × 46cm)

PORTRAIT OF DOLPH TRAYMON. YUKA IMATA Graphite and gouache on prepared paper / 32" × 36" (81cm × 91cm)

This drawing was done from life using two sheets of paper carefully taped together, one light cream and one slightly grayer. To highlight my center of interest, I drew with higher contrast on the head, using the brighter cream-colored paper. I used a narrower range of values and the gray-toned paper for the hands to keep that area secondary. My concept was helped along by the model, who was glowing in that simple position, with an inner quietude and serenity that reminded me of the beautiful madonnas of the Renaissance paintings.

With the opportunity to work on a portrait of Dolph Traymon, celebrated career pianist and owner of the Fife ‘n Drum restaurant, getting to know him was most important. I spent a week with him, working on numerous pencil and color sketches from life at the restaurant. I brought back my reference materials and started working on the drawing at my studio. I first worked extensively with graphite powder, and then fine-tuned soft and hard edges with pencils to show fore, middle and background. Surrounding environment, such as the piano and the interior of the restaurant, was essential to describe who he is, but the focal point must remain the sitter. I always learn so much from my sitter and try my best to show their life and personality through the portrait.

“The beauty of portraiture is the encounter.” • YUKA IMATA

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THEO. SANELA DIZDAR Graphite on gallery-style canvas / 36" × 36" (91cm × 91cm)

SEEING BEAUTY. KARLI JOPP Graphite pencil on bristol / 10" × 8" (25cm × 20cm)

Drawing a portrait from a photo demands intense research into character and, if possible, personal knowledge of the subject. Telling complex stories, using the simplest of drawing tools—a pencil—on densely textured canvas, is a constant challenge. You are invited to feel depth on a seemingly flat surface and to hear undertones while being intrigued by the passions of the character. In your head, you are the producer and director, creating the whole movie behind the single image, the “what and why” of the subject. My goal is for my art pieces to convey the depth of human emotions.

I have always loved creating beautifully accurate and realistic details. The details can give a flat surface a realistic dimension. I drew this piece in the span of a week from a photograph of my cousin. I took the picture as she was putting on lipstick. There is something so interesting about how a woman sees herself in the mirror. I drew very carefully using a facial tissue and a variety of pencils. The close-up framing and compact, but true, perspective brings viewers right into the beautiful details of her face.

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Landscapes & Scenes RECYCLING? MICHAL STRASKA Pencil on paper / 15½" × 23½" (39cm × 60cm)

Working from a photo, I handled the foreground of this scene with a lot of detail, keeping the deeper space more blurred. This, combined with classical perspective, gives the artwork its visual depth. Three areas gave me specific challenges. First, I had never drawn snow before, so this was a learning experience. Next, the exacting work of the reflections on the car and on the river were time-consuming, but I was finally pleased with my results. The final challenge was the very fact of working from nature. After viewing some of my nature sketches, a drawing teacher once told me: “Don’t draw nature anymore, keep to portraits.” But before starting this drawing I told myself, The same principles I use in portraits I can use in drawing nature.

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“The use of Copic markers was a new medium for me and it brought a fresh new linear approach to my work.” • SHIRLEY CLEARY

O’CONNOR’S PLACE. SHIRLEY CLEARY Copic markers and acrylic on primed cotton canvas / 16" × 20" (41cm × 51cm)

MORNING MIST. KATHLEEN MCDONNELL Pastel on Wallis sanded pastel board / 24" × 18" (61cm × 46cm)

Drawn from a bluff overlooking a New Zealand sheep farm, the perspective of buildings, hedges, roads and fence lines leading to a far-off mountain range presented a challenge. I began with a gesture drawing using Copic markers on gessoed canvas. I call it a gesture drawing instead of a compositional sketch because movement was an important part of the scene, and I wanted the eye to quickly circle throughout the drawing. I wanted to “contain” the distant view and treated the mountains with a dark value instead of going lighter as atmospheric perspective would normally demand. A limited palette of acrylic washes including white were used over the markers, then final markers were used to accent and strengthen the drawing.

The mood of the landscape is far more important to me than specific details. After a heavy rain, early morning mist brings in its ambience. Trees always tell a story. I tried to create a soft, elegant, poetic mood through the graceful branches. Morning Mist is based on plein air studies, photographs and memories of the many landscapes I have painted. On the sanded board I applied a hard pastel and turpentine underpainting. Using a limited palette of black, white, and warm and cool grays, I began my pastel by referencing my value study. Soft and hard pastels are layered to create the depth and the mood of the composition. The hard pastels over the soft pastels blended the edges and lightened the background.

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“A warmer foreground with a cooler, lighter background creates depth in a landscape.” • KATHLEEN MCDONNELL

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THE EMBRACE. JAMES W VOSHELL Graphite pencils on paper / 48" × 20" (122cm × 51cm)

I noticed this tree and vine along the roadside on one of my nature walks. I was fascinated with the interplay of these forms. Over several years I photographed their growth and intertwining, mostly in winter. I love how the sunlight composes the spatial ins and outs of the combined structure. Eventually a strong windstorm blew the entire tree down, and the road crews quickly removed it. Happily, I had good photographic reference. I decided a large vertical drawing would provide a complex technical challenge and a permanent record of this exciting relationship in nature. Using a grid system, I completed the drawing with a variety of graphite pencils on goodquality paper. It took approximately 375 hours.

APPLE TREE IN SNOW. JAMES W VOSHELL Graphite pencils on paper / 40" × 32" (102cm × 81cm)

I awoke one winter morning to see it had snowed overnight. The morning sun illuminated the coating of white on every tree and branch. I grabbed my camera and immediately recorded the pristine effect on our trees, especially our favorite apple tree, as the warmth of the sun began melting the fragile snow. The challenge for my large drawing was the accurate rendering of the highlights and shadows on a multitude of intertwining tree branches. Working with a grid to prevent getting lost in a myriad of details, I completed the pencil drawing in 250 hours. The foreground shadows from the tree helped create a pleasing sense of depth.

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“Without a source of light, whether natural or artificial, we artists see nothing.” • JAMES W VOSHELL

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ISLANDER DAYS. JACQUELINE ROCH Pastel on sanded Wallis paper / 48" × 48" (122cm × 122cm)

Islander Days is an image from a vacation spot that we frequent in the Florida Keys. It is a beautiful place right on the water; the beach is a large span of crushed shells and swaying coconut palms. I have been photographing those palms for years. I wanted to focus on the sensation of the breeze through the palms and the movement of the afternoon sky. Creating the change in scale in the clouds and the palms quickly brings you through the painting and into the distance, which I think is a key to representing a sense of depth in a painting.

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NEW BURN. JACQUELINE ROCH Pastel on La Carte sanded paper / 25" × 33" (64cm × 84cm)

In New Burn I revisited Big Cypress National Preserve, part of the Everglades National Park, where I had been artist-in-residence. I often return to images of the area for landscape inspiration. This particular day was quite remarkable. One year previous, I had been to the same spot on the Florida National Scenic Trail just a few days after the area had been part of a prescribed burn. Now, a year later, all the “new green from the new burn” created patches of neon green grass against the dark of the burnt cypress barks. Its uncommon beauty was overwhelming. I try to find transcendent moments in a landscape that viewers can connect with.

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IN THE BLEAK MIDWINTER. TERRY MILLER Graphite on bristol board / 8¼" × 18¼" (21cm × 46cm)

EXPOSED. DARLENE JORDAN PFAFF Charcoal on TerraSkin paper / 14" × 11" (36cm × 28cm)

On a crisp January afternoon, while meandering back roads looking for interesting reference material, I spotted an old forlorn fence line. My emotional eye was struck by the myriad of stories that lay hidden in its current deterioration. My artist’s eye was struck by its immediate attraction as a starting point for a drawing. Mulling over ideas back in the studio, I saw a need for a midpoint subject to help draw the eye back into the work. I settled upon a group of horses to act as that key, bringing a bit of life to the otherwise static landscape while drawing the viewer into the chilled air surrounding the horses and beyond to the distant hillside.

In this drawing I strove to show the tree’s majestic presence. The strong root system in the foreground helps give it spatial depth, but I also wanted to show the depth of emotion I felt when I came upon it. Its monumental dimensions speak not only about the space it occupies but also its importance on earth, to earth and to us. To share the space with that tree, in that one moment when the sun illuminated it with a halo of stars, was amazing. I was compelled to kneel on the ground before it to take the photograph. Later in my studio, my hope was to capture its magnificence, the emotion it evoked and to honor it by purposefully rendering it in charcoal on treeless paper called TerraSkin.

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KEDARNATH TEMPLE. DAVID RANKIN 9B woodless graphite on paper / 8" × 10" (20cm × 25cm)

On my last trip to India I conducted an extensive 4 to 5 week watercolor expedition throughout the highaltitude inner core region of the Himalayas where the Ganges River is formed. This is one of the sacred Char Dham temples that millions of devout pilgrims visit every year. I refer to these Hindu temples as “cloud temples” as they all reside above 10,000 feet (3,050m) in altitude. At Kedarnath I stood in back of the temple and sketched its massive structure in the cloudy mist and drizzle that was present most of the day. It’s actually quite moody and my use of the 9B woodless graphite pencil on paper allowed me to create a halftone mid-value blend to help capture the feeling of fog.

CHARTRES, FRANCE – THE CATHEDRAL. GEORGE LOLI Black ink, fountain pen, charcoal, watercolor and pastels on paper 9" × 5½" (23cm × 14cm)

As I was standing on a small bridge on a beautiful spring day, observing the grand cathedral from a distance, the campaniles magically pierced the sky, the water gently flowed, and the wind rushed through the trees over the plush green landscape. Holding my fountain pen and sketchbook in my hands, I defined the edges and the outer contours of this noble structure. On this moody hazy day, the spirit of the space is captured by retaining the white paper and defining the focal point while using only simple suggestive elements to hint at details.

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NORTH GATE, ANGKOR THOM, ANGKOR COMPLEX, CAMBODIA. STUART MEYER-PLATH Black .01 Artline pen on 70-lb. (150gsm) acid cartridge paper / 8½" × 30" (22cm × 76cm)

North Gate was drawn on-site at Angkor complex as part of a year-long art trip through Southeast Asia and India. You need to be committed to your drawing when drawing directly in pen and not be concerned about making a wrong line. I initially map out my subject using a series of dots to indicate key features such as the height of the central tower. Then it is simply a matter of joining the dots and referring to basic strategies of negative spaces, main vertical and horizontal axes, and looking at proportions.

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A VANISHING ERA. DIMITRINA STAMBOLDJIEV KUTRIANSKY Graphite on paper / 5½" × 13" (14cm × 33cm)

Although nature is intriguing and complex, we remain indifferent, unaffected by its presence. Digitally preoccupied and perpetually distracted, we dismiss the awe-inspiring as mundane and meaningless. A Vanishing Era is a small attempt to recapture an outlook that found an inexhaustible source of inspiration, and a profound need for artistic expression, in the natural world. It is through observing the very elements that shape our environment that we can achieve a poetic expression that awakens our senses and enables us to transcend the ordinary and sustain our own humanity.

PREAH KHAN, ANGKOR COMPLEX, CAMBODIA. STUART MEYER-PLATH Black .01 Artline pen on 70-lb. (150gsm) acid cartridge paper / 8½" × 30" (22cm × 76cm)

Like the North Gate drawing, Preah Khan was drawn on site. Finding a comfortable, shady, clean and aesthetically pleasing vantage point is vital as I usually spend between three to eight hours sketching. Armed with only a permanent black ink pen and a hardcover bound sketchbook allows me to create a unique balance of light and shade that allows the viewer’s exploration of the space being represented. Taking the time to draw, rather than taking a series of photos, increases one’s depth of observation and appreciation of the subject and its surroundings. It also enables recollection of the myriad sights, sounds, smells and general climatic conditions of the day.

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THE MARKET. ELAYNE MOSELEY Sharpie and Chartpak value markers on paper / 10" × 7" (25cm × 18cm)

SENECA STREET. CHRIS BREIER Ink on watercolor paper / 5" × 7" (13cm × 18cm)

The Market takes place in a historic Victorian building with tall windows and doors that are graced with blue and white striped awnings. I like to take my sketchbook and markers with me when I visit outdoor cafés or coffee shops. I sit at an angle to obtain more depth to the design and have only one person in the scene to create a mood of quiet and timelessness. I use a fine-point Sharpie for the drawing and nos. 2, 3 and 4 warm gray Chartpak markers for the light, medium and dark colors.

I began this drawing by working directly in ink. This allows me to be more spontaneous with the linework than if I were to carefully trace over a pencil drawing. Once I’m satisfied with the line drawing, I work out a value plan in my mind. I think about how I can exaggerate the values because it’s the contrast between light and dark that creates the illusion of depth. I used a small round watercolor brush for the majority of the washes and a fine-pointed rigger for the finer lines and details. A crow quill pen dipped in white acrylic ink works well for drawing in the last few highlights.

“Highlights and shadows define a subject’s size, shape and placement in space.” • CHRIS BREIER

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HENRY TROST IN EL PASO. CANDY MAYER Pen and ink and pencil drawings colored with acrylic and collaged on canvas with acrylic matte medium / 36" × 48" (91cm × 122cm)

This collage features the architecture of Henry Trost, El Paso’s most famous architect. He designed hundreds of buildings in the city from 1903 to 1933. Each drawing was drawn individually from both old and current photos. In most of the drawings I concentrated on smaller, more interesting parts of a building—windows, towers, moldings—instead of the whole structure. I then cut these out and glued them to a canvas using acrylic matte medium. The canvas had been painted a neutral color, and copies of Trost blueprints were attached to peek out from under the drawings. The overlapping composition and the added shadows around the drawings create dimension to the architectural drawings as if the composition were a view of the city streets.

THE SENTINELS. PAULA PARKS Colored pencil on Rising Stonehenge paper / 15" × 10" (38cm × 25cm)

The Sentinels reminds me of a very special time when I was fortunate enough to spend a month living in a dorm at the University of Paris, sketching every morning and exploring the city every afternoon and evening. The reference photos for this piece were shot from one of the towers of Notre Dame Cathedral. I liked the unusual viewpoint and also loved the distant view of the city framed by the buildings. Until I had climbed so high in the tower, I didn’t realize that each of the gargoyles was uniquely different from the others.

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PYRRHIC VICTORY. JASON BRADY Charcoal and white pastel on paper / 18½" × 23" (47cm × 58cm)

The Nike of Samothrace was created in honor of the Greek goddess of victory during the second century B.C. She is considered to be the greatest masterpiece of Hellenistic sculpture. The fallen goddess now lies broken in shambles, an echo of what she once was, though perhaps her beauty is even elevated by the tragedy of defeat. Upon her broken wing, a man sits in hero’s pose, agonizing over the sight of her remains. The journey that led him to behold this vision has taken its toll. The hyperkyphotic curve of his spine embodies his selfdefeating tendencies that prevent him from realizing his true heroic potential. Perhaps this man is agonizing over the fall of the ancient ways or maybe a love turned to stone.

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“We may have formulas for creating perspective, but don’t assume that reality follows suit; reality is much more unexpected.” • AMBER-ROSE HULME

LOST AT SEA. AMBER-ROSE HULME Pastel on paper / 14" × 28" (36cm × 71cm)

A look of bewilderment seems frozen on his face, captured in the instant of my shutter-click. Is he lost? Bemused by the bustling scene surrounding him? The eye is drawn to our protagonist, dwarfed by the soaring architecture of the historic Galleria Vittorio Emanuele II of Milano. He is standing motionless, central to the converging lines of the buildings heading toward the single vanishing point created by the one-point perspective. The swarm of oblivious shoppers dissolves into a general mass of indiscriminate forms as it recedes into the distance where detail is lost, contrast diminishes and the overall value becomes lighter. Eventually these fuzzy shapes fade into a background of stark white, suggesting the enormity of possible space beyond.

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Animal Kingdom ROOSTING HENS. DANIELLE FEIGE Charcoal and graphite on printmaking paper 11" × 15" (28cm × 38cm)

Roosting Hens is an intimate nighttime view inside a henhouse. The hens are lit only with a single lamp from below. I drew an on-site sketch of my hens as they settled in for the night, the soft rustle of feathers and the contented whispers they made still alive in my mind. The richness of depth can be attributed to the use of soft charcoal, with details enhanced through layering and overdrawing with graphite pencils. This is a world only few are privy to.

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“An intense backlight between your subject matter and the background creates a strong contrast that adds spatial depth.” • MIKE BARRET KOLASINSKI

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“A spectator cannot mentally step into an artist’s creation without depth.” • HANS GUERIN

KEATS. MIKE BARRET KOLASINSKI Soft pastel on black sanded paper / 16" × 12" (41cm × 30cm)

PANTHERA TIGRIS TIGRIS. HANS GUERIN Conté on Gesso board / 10" × 20" (25cm × 51cm)

At around five years old, Keats became a member of our family. So when he passed away nine years later, I presented my wife and daughter with a lasting image of him. Working on black sanded paper with various brands of soft pastels, I referenced two of my own flat-lit photos for the composition. I chose to eliminate the cluttered background, vignetted his face to highlight his puppy-dog eyes, and introduced an intense, backlit halo effect to capture his bright intelligence and sparkling personality. This expressive portrait keeps his memory alive.

This is a scratchboard technique developed by medical illustrator Max Broedel and taught to my great-grandfather, James Didusch. After executing a finished drawing with a black pastel pencil, I scratch fine textures into my homemade surface with a sharp stylus. This method allows me to subdue the intensity of some of the scratches but leave the texture and retain the pure white where I want it. I witnessed this regal tiger in the Franklin Park Zoo in Boston, Massachusetts. Using several photos and an invented landscape, I assembled the composition as a full-body portrait. To provide some depth and prominence to my subject, I put all of the fine, scratched-in textures and contrast up front. The suggested environment was subdued to bring the tiger forward and avoid distraction.

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DREAMING BIG. DENISE J. HOWARD Colored pencil and graphite on Stonehenge paper / 12" × 16" (30cm × 41cm)

“In the real world, not only 3-D forms have dimension and depth, but also the shadows they cast.” • DENISE J. HOWARD

We don’t think of insects as having personality, but this Red Admiral butterfly certainly did. It appeared in late afternoon every day for weeks, flitting around teasing the animals, then resting on the side of the house just before sunset, admiring the size of its own luminous shadow. I was intrigued at how the very shallow angle of sunlight gave the flat wall a dramatic pattern and transformed the tiny butterfly, nearly parallel to the wall, into seemingly enormous size. I decided to enhance the effect further by using graphite for the wall and colored pencil for the butterfly and his shadow.

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CONEFLOWER AND BEE. ELIZABETH PANEPINTO Graphite on bristol paper / 9" × 15" (23cm × 38cm)

This portrait was inspired by many summertime photos taken around my mother’s gardens in Western Kentucky. I hoped to show depth in values as well as in the details you can find when viewing nature up close. Depth of the inner realm is also implied, that of emotional ties to family and shared history, which I am reminded of in the Kentucky landscape and wildlife.

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“Composition, technique and contrast are the tools, but honesty, grace and passion are the magic.” • JOE BURGESS

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CONTROL. JOE BURGESS Graphite on Strathmore paper / 17" × 14" (43cm × 36cm)

LADY SUMMER. CAROLYN W. SHELBURNE Graphite on bristol paper / 7" × 10" (18cm × 25cm)

Observe, my darkness, from deep within / Temporarily imprisoned in the palm of my hand / This beast is hungry, and it feeds on fear / Telling me lies of what’s in the mirror / Control of this beast is no minor task / For it hides within logic that this is not that / It dwells within others who have come to agree / That the world is broken and not as it should be / Accept that this monster’s existence is real / For misery finds those who succumb to its will / From one thought to the next, its poison will spread / Condemning all who embrace the fears of the dead.

My goal was to express Summer’s mischievous feminine personality through her facial expression, her pose and the backlit lace background. I gave special attention to edges and values, keeping the background lace soft and leaving sharper edges for the foreground, particularly Summer’s face. The lace curtain was created piecemeal from one photograph, which I laid out in a photo program as a basic guide for the repeating patterns and folds of the lace. I then layered a photo of Summer on top of the background and edited the lighting direction, adjusting and fine-tuning the lighting as I drew. I was fortunate to also have Summer always available as my live model!

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TELL ME MORE ABOUT “SHEEP”. ANN RANLETT Scratchboard with India ink wash and colored ink / 4" × 12" (10cm × 30cm)

I normally work from my own photo references, but occasionally, someone else’s “gotta draw” photo crosses my path. The photo of a friend’s handsome border collie pup screamed scratchboard drawing. The narrow landscape dimensions that define this drawing required cutting a scratchboard to fit; I filled the space with the dog and just a hint of ground. I used a diluted India ink wash to tone back the scratching on the pup’s black fur and nose, on the ground and in a few places on the white fur. Colored ink on the eyes draws the viewer in to wonder what the pup is thinking.

“Try an odd size; the interesting dimensions will attract the viewer’s attention.” • ANN RANLETT

WOOD DUCK. KARIE O’DONNELL Graphite on 300-lb. (640gsm) Fabriano Artistico paper / 5" × 12" (13cm × 30cm)

Nestled high in the barn rafters above noisy chickens, ducks and pigeons, this cozy wood duck captivated me with her quiet solitude. Drawn from several reference images, the delicacy of the wood duck contrasts with the rough textures and geometric angles of the beams. I created the perception of depth by softly graying down the distant rafters with a 4H pencil and adding darker details to the foreground beams with a 2B pencil. The darkest and lightest tones were reserved for the wood duck that finds warm safety on her perch.

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THE HUNT – RED-TAILED HAWK COUPLE. LAURENE SPINO Graphite pencil and powder on Mellotex paper / 6" × 15" (15cm × 38cm)

“Art has brought an unexpected benefit to my life. I now see beauty that I had never noticed before in my immediate surroundings.” • LAURENE SPINO

I am fortunate to live near a wildlife haven for animals that cannot be released by rehabilitation centers. There I have spent many hours observing and photographing red-tailed hawks while developing a profound respect for these birds. They form lifelong pair bonds and have been seen hunting in pairs. That’s the story I wanted to tell, set on a cold winter’s day clouded in winter fog. I did the background mostly with graphite powder, progressively fading out details. The hawks were drawn in pencils ranging from 2H to 2B for sharper detail and focus.

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MISTER ZZZZ. WAGNER ANARCA Pencil on paper / 8½" × 11" (22cm × 28cm)

My drawing was done at a zoo. The zebra is always my favorite. Lines never stay in that place that we are looking for, they move, like the wind, like life, like love, like dreams ... zzzz

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“Each stroke counts in conveying a 3-D feeling.” • YAEL MAIMON

DEER, MIDDAY. YAEL MAIMON Soft pastel on Sennelier La Carte / 18" × 22" (46cm × 56cm)

To me, deer are breathtaking animals. I wanted to create a scene rich in vitality and color—one that conveys the splendor of these animals. In Deer, Midday the viewer feels as if he’s part of the scene, as if the deer in the foreground is just a handbreadth away. The close-in composition creates an intimate space. I created depth by handling the background with abstract shapes and directional strokes. I also used directional strokes to build up the form of both deer to sculpt their stunning presence.

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PAWS FOR THOUGHT. ONA KINGDON Pen and ink with a limited watercolor wash on bristol board / 6½ " × 14" (17cm × 36cm)

PEACE FOR A STRAY. ELIZABETH PANEPINTO Graphite on bristol paper / 18" × 20" (46cm × 51cm)

There are so many sights, sounds and smells to take in when you are young. Sometimes you just need to stop a while and “paws” for thought. The sense of spatial depth was created by enhancing contrasts in value and emphasizing hard or lost edges. Both of these techniques also lend emotional depth to the drawing. The darker lost-edge areas add a degree of mystery and wonder. The lighter hard edges, along with a watercolor wash on the eyes, suggest the feeling of warm sunshine and evoke a sense of safety and comfort. The combination allows us to feel at ease and empathize with the puppy, remembering all those times we daydream, too.

Wandering the streets outside Orlando, Ashley was taken in by a local shelter and given much-needed medical care for 8 to 10 weeks before being fostered by the Siberian Husky Rescue of Florida. Shortly thereafter we were fortunate enough to adopt her. In this drawing I see dimension in perspective and foreshortening. Space is reflected in balance and composition and in the missing pieces of Ashley’s short life before she was rescued. I hope to capture depth in values as well as in the emotion felt for this amazing little dog in knowing she is no longer alone and suffering but at peace in her new home.

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STILL LIFE WITH ORIGAMI. LUCY TOLKUNOVA Charcoal and graphite on paper / 11" × 14" (28cm × 36cm)

Still Life with Origami was created for the Flora and Fauna Art Show. After taking dozens of reference photos in traditional settings of flowers and still not being satisfied, I decided that I needed to do something different: An origami flower was an immediate inspiration. Then I had to learn how to fold origami. I set up my origami subjects in a shadow box with a side light, which created nice cast shadows and added dimension to the composition. Working from both photo reference and the actual origami figures, I used charcoal for the background and shadows and graphite for the origami, thus achieving more contrast in the composition.

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SHEPHERD PAUSE. HEATHER A. MITCHELL Scratchboard / 11" × 14" (28cm × 36cm)

Scratchboard challenges me with its combination of precision and mystery. One begins with a board coated with clay, topped with a thin layer of ink. The process involves simply scraping away the black ink to reveal the white clay. A variety of methods and tools may be used to achieve a range of effects. In this piece I used a craft knife for strokes, crosshatching and stippling. This medium is rather like a strategy game, becoming more sophisticated as one increases in skill. As I begin scratching, the image emerges from the darkness, revealed in stages and gradually taking form. Here the fine detail of the eyes and face are in sharp focus, and the rest of the dog gradually recedes into darkness. This is where the mystery takes place—in the shadows—where the viewer’s imagination takes over and completes the work.

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RUN WITH IT. LYN STCLAIR Charcoal, pastel and oil on hand-gessoed, cradled birch panel / 30" × 60" (76cm × 152cm)

My mare is a constant source of inspiration. Originally, this was to be a detailed charcoal/graphite drawing. I’d already drawn most of the horse, including the intricate dappled gray pattern of her coat, when I decided that it wasn’t working and began to wipe it down with turpentine. The first wash of solvent ran down through the charcoal and made an intriguing pattern that inspired me to try something different. With sweeping strokes of oil and turpentine through the pastel and charcoal, I was able to capture the drama of the mare’s expression and movement, resulting in an intriguing combination of detail and looseness. This work is an ode to my philosophy of not getting so attached to the destination that you miss the journey.

orphaned starved almost dead rescued saved loved. JANINA JACKSON Graphite on Fabriano Artistico paper / 47½" × 39½" (121cm × 100cm)

This was an orphaned elephant rescued by the wonderful people at the David Sheldrick Wildlife Trust in Kenya. The calf’s mother was a victim of poaching, killed for her ivory tusks. This beautiful little creature, like many others, was found in an emaciated, desperate condition. Many don’t survive. This one was lucky. I used lost lines, shading and gradations of detail to develop depth and space. The tight crop on the baby within the frame of the older elephant was to suggest both protection and scale. The entire drawing was completed with 6B and 2B pencils, using a tortillion stump to blend the pencil lines and Blu Tack to alter tones.

“Sometimes it pays to let go of what you envisioned and let the piece tell you where it wants to go.” • LYN STCLAIR

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GETTING HITCHED. PAT DEVANE BURNS Graphite and white chalk on gray rough-tooth paper / 17" × 21" (43cm × 53cm)

Normally I draw as a process prior to painting and sculpture. However, for these mules the intimate feel of graphite and use of tone were more effective than color to achieve the sense of time and place, and the details of individual character. References were taken locally and evoked fond childhood memories of my Uncle Lewis’s farm, creating a bridge to the past. Combining two photos of the same mule, I used the grid method to get proportions and intricacies of the harnessing correct. The roughness of the paper was a bit difficult to work, but I believe it benefits the texture of the hair. It still may become a sculpture or relief.

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YOUNG LANGUR. DAVID RANKIN Digital drawing on iPad / 6" × 8" (15cm × 20cm)

In India, young male langur monkeys lead a precarious life once they get to be of “dating age.” The female langurs are terrible flirts. And both the dominant female as well as the big male troop leader are always keeping track of where the young males are. And if they are seen to be sniffing around the young girls … they are disciplined! I love to sketch and paint langurs. And now that I also use this magnificent Paper by FiftyThree app on my iPad, I can add color and lighting to a study in ways never before possible.

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Still Life Subjects LOVE BYTES. SUSAN WALLACE Charcoal / 30" × 40" (76cm × 102cm)

Love Bytes is a poetic tale of love throughout time. My concept for this charcoal drawing, completed without any blending materials, is based on the varied ideas of love throughout history. The drawing reads left to right from the Greek legends to Adam and Eve, and ends with computer dating and finding a partner. To begin, I set up objects in a shadow box to be photographed for reference. The pomegranate is a symbol of fertility as well as part of the myth of Persephone being abducted by Hades. I took a photo of hands, then added them to my reference composition using Photoshop. The title is a play on words regarding the iterations of love and the modern-ay computer.

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COLORED PENCILS. LORNA HANNETT Scratchboard with ink / 10" × 8" (25cm × 20cm)

RED GEMS. ALESSIA LEVONIQUE CANDRA Oil on canvas / 30" × 40" (76cm × 102cm)

I work primarily from photographs, as the scratchboard process is long and slow going. I created this piece on Masonite board coated in white clay and then India ink. To create the image, the ink is scratched off to reveal the white clay below. The tonal values are achieved by varying the amount of scratching. I then added colored ink to the pencils. The challenge was to give dimension to the whole piece by having the scissors and pencils on top of the photos, yet still show depth in the photos themselves. Whether creating a landscape or a close-up view, I find tonal values are the key to giving a piece depth and dimension.

The idea of a two-dimensional rendering that transcends the restriction of its flat surface to fool the eyes into believing in its three-dimensional world has always enchanted me. The first time I ever laid eyes on Old Masters’ still-life paintings, I had a strong urge to reach out and touch the objects in the painting. Good artwork can touch the senses to the point where it affects one’s body, ending any purely aesthetic contemplation, urging the viewer into the world of the artwork. This is ultimately what I strive to achieve in my works. It takes months to complete one painting as it involves complicated processes from composition to mixing the right color and getting the right sizing because I don’t use projection on canvas.

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CAN CAN. DAN PYLE Charcoal on 100-percent rag, acid-free illustration board / 20" × 16" (51cm × 41cm)

My initial idea for this drawing was based on the childhood game of tying two cans together with a string to create a telephone. I saved my empty food cans in various sizes and set up for a photo shoot. It didn’t take long for me to divert from my original intention when I saw how the light played off the metallic ribs in the cans and the way the cans reflected off each other. I crushed one can, which increased the drama and added more interest to the composition. By keeping the background of the drawing stark, the contrast and the form of the cans were optimized. I love to find depth and beauty in the simple things in our everyday lives.

“If your subject doesn’t intensely move you, move on.” • STEVEN A. WILDA

VULTURE. STEVEN A. WILDA Graphite on illustration board / 25" × 18" (64cm × 46cm)

The vulture, placed dead center, generates somewhat of an unnerving effect with its eyes staring, ready to pounce. Rendering this curiosity, the power and intimidation it evoked was best approached with no extraneous background. The image is abrupt. Any additional secondary elements would have been distracting and lessened its effect. The solidity and the weight of the subjects were of great importance. Lighting accentuates their form with the foreboding atmosphere enhanced by the dramatic shadows.

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“Spend as much time composing and refining your composition as you expect to invest in developing that vision.” • TIM REYNOLDS

OVERKILL. TIM REYNOLDS Charcoal and white pastel on Canson Mi-Teintes sky blue paper 12" × 16" (30cm × 41cm)

I tried to create depth by using objects that contain basic forms I’ve studied—cubes, cylinders, cones and spheres—and to keep these underlying shapes in view while rendering the more complicated objects. The dimensions are communicated through gradual value transition. It was fun balancing my antique Moroccan Berber pistol against a World War I grenade and working that dry twine to create a thoroughly dependable mousetrap. With the weapons safely balanced in my shadow box, lighted from the high left, I got to hang the cheese and layer in light and dark values with pressure control.

SLAP SHOT. KATHY HILDEBRANDT Pastel on UART 600-grade paper / 26" × 20" (66cm × 51cm)

Slap Shot is part of an ongoing series. The title is a play on words. A slap shot typically refers to a very hard shot in hockey, but in this case it refers to the slap in the comic images and the shot of tequila. Slap Shot was done in a trompe l’oeil style. I set up and arrange all my still lifes in my studio. A lot of time is spent developing the composition to tell the story I am after. Once the initial arrangement is in place, I photograph the setup and make changes to the composition until I’m satisfied. After getting my drawing onto the pastel paper, I use a combination of hard and soft pastels along with pastel pencils to complete the work. Once it is completed, I’ll let the work sit for a few days and look at it with fresh eyes to see if any touch-ups are required.

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KEYS OF LIFE. GAIL A. MITCHELL Pen and ink on 140-lb. (300gsm) paper / 13" × 11" (33cm × 28m)

I find the shapes of old keys fascinating. This began as a sketching exercise using one key as the subject. As I drew, I decided to increase the number of keys and arrange them on a ring. The more keys I drew, the more I realized that each key could tell a story. I added various shapes and details to the bows and blades of each key to represent things in life. While one can easily see the physical shape of each key, it is these intangible elements that make it special for me. Keys of Life was a personal experience that combined my realistic drawing style with my creative nature, which resulted in a piece of art that is symbolic of many important aspects of my life.

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NAUGHTY PUMPKIN. JASON ESPEY Graphite pencil on paper / 25" × 18" (64cm × 46cm)

This pumpkin had so much character that I felt the simpler the setup, the better. This allowed me to focus on its sculptural qualities and textures. Remember to start with the big shapes of light and shadow that you see when you squint.

PROWLER FRONT ¾. JAMES BECKER Pencil on 100-lb. (215gsm) smooth bristol / 11" × 14" (28cm × 36cm)

For over 25 years I’ve created commercial art, and much of this time was spent looking at a computer monitor with a mouse in my hand. I longed to return to the simplicity of pencil and paper. Combining a longtime love of the aesthetics of automotive design with the challenge of photorealism, I’ve begun a series of pencil illustrations called Heads and Tails. Most often I use sharpened .05 pencils with various hardnesses of lead, an eraser and many reference photos that I shoot at car shows.

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SPEED KING. DOUGLAS GILLETTE Graphite and white chalk on toned paper / 22" × 15" (56cm × 38cm)

HONESTY OF TIME. CHAN SOK YIN JULIANA Graphite on cartridge paper / 17" × 23" (43cm × 58cm)

In my youth I owned roller skates like these, which were drawn from life in my studio. They fastened easily to the soles of my leather shoes and adjusted to my changing shoe size as I grew. I wrote a poem that reflects what I remember as I ventured down the sidewalks of my small town in upstate New York.

Placed in a corner of the room, these objects capture the natural lighting within the space and the morning light through the windows. Using pencils, each line represents the shape, light and texture of the objects as well as the relationship of the objects and their surroundings. The balance of the tones conveys the mood of the artwork: tranquillity. The gentle morning light lends an air of quietness. But it also exposes the rust and dirt of the old objects, contrasting with the smooth surfaces of the fruit. This evokes a poignancy that reflects our quiet anxiety and helplessness towards time. While time leaves behind the past and defines its age, beauty lies in the present moment of time. This artwork reminds us to cherish moments that are transient yet important.

Still today I can hear the sound Of those wheels beneath my feet. Between each measured sidewalk crack, There was a rhythm I’d repeat. That rhythm became a part of me, As I practiced each striding gait. There was nothing like my new-found friends, Those Chicago Speed King skates.

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LIGHT UP YOUR LIFE. CECILE BAIRD Colored pencil on Stonehenge paper / 16" × 16" (41cm × 41cm)

LIGHT CRISP TASTY – FORTUNE INSIDE. LINDA LUCAS HARDY Prismacolor on UART 800-grade sandpaper / 14" × 22" (36cm × 56cm)

Drawing light—how it falls on and bounces off objects— and the shadows it forms is what creates the impression of three-dimensional shapes in space. But in this piece, instead of lighting my subjects, I decided to try light as the subject. My initial thought was to use clear neutral bulbs, but at the hardware store I discovered these wonderful colored LED lights. I loved the graphic twisted shape, and the thought of the color was exciting. This picture is the result of my experiment. Capturing the brilliance of the light was challenging, but I think my Prismacolor and Luminance colored pencils helped me do the job!

If you’ve ever wanted to know what’s actually in a fortune cookie, it’s there on the package—yes, that transparent, crystal-clear, plastic wrapper. A fortune cookie was always just a fortune cookie to me until something magical happened. It wasn’t until I saw the shadows cast by the words and images on the wrapper that I became intrigued. Those shadows teased me. It was as if they were playing a game, beguiling me, then captivating me. With so little room and hardly anywhere to push the cookie, I was determined to make the shadows the heart of the piece.

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THE COMPOSER. DEXTER A. WELCOME Charcoal and white pastel on paper / 12" × 18" (30cm × 46cm)

QUIET REFLECTION. BETH SISTRUNK Charcoal and pastel on paper / 6" × 4" (15cm × 10cm)

In “Hit Me with Music” Bob Marley sang, “One good thing about music, when it hits you, you feel no pain.” The Composer is a reflection of my love for music and its impact on my life. As a songwriter, I find composing is one of the most peaceful experiences one could imagine. In my moments of crisis, I have written and sung my heart out, leading me to a place of hope. I really enjoyed the journey of this special artwork: sitting at my easel and applying the techniques, such as pressure scales and chiaroscuro, taught to us by Ani Art instructor Timothy Jahn. The encouragement from my fellow aspiring artists was tremendous. Employing chiaroscuro techniques, a sense of space and dimensionality was created by prioritizing objects that sit forward, and allowing others to recede into the background.

The duality of the shell and its reflection provided just the right meditative and peaceful scene I was looking to create. The ornate lamp base and china cabinet in the background contributed extra depth to the composition. I photographed the scene and proceeded to construct a simple line drawing on my paper. Then I applied layer upon layer of charcoal and pastel with increasing pressure to bring the drawing’s values, gradations and textures to their final appearance. To finish, I sharpened a Cretacolor white pastel to a very fine point and carefully added my lightest highlights with a tiny yet thick impasto of the pastel similar to an impasto highlight in oil paint.

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RHODODENDRON BLOSSOMS II. BETHANY WINDHAM ENGLE Graphite on Strathmore Premium Recycled 400-series drawing paper 13½" × 21½" (34cm × 55cm)

After photographing and painting rhododendrons from my garden, I realized I was more interested in the contours and values than in expressing vibrant colors. By transforming the blossoms beyond their physical hue I could create a semblance, an apparition, in which spatial relationships become perceptible. Thus the viewer is free to contemplate the interdependency of elements, the rhythmic process of growth that sustains life.

“Objects appear smaller, less detailed and lighter in value as they recede into space.” • CHRIS BREIER

FRUIT & MAIL. CHRIS BREIER Ink on watercolor paper / 7" × 5" (18cm × 13cm)

During the course of my day I occasionally find a random arrangement of objects that I think could make a great still life. Fruit & Mail was inspired by the random arrangement of clutter on my kitchen table. I made a few slight adjustments to the arrangement and then took pictures of it from various angles.

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IF MUSIC BE THE FOOD OF LOVE, PLAY ON. LYNNE GARLICK Charcoal and white pastel on paper / 22" × 15" (56cm × 38cm)

If music is the food of love, drawing is the poetry of light and shadow. When a small antique object is seen larger than life, the viewer is drawn into the vision, bringing the old into our contemporary world. Drawings like these demand good reference shots along with a solid objective of how you want the finished drawing to be viewed, even if this idea changes along the way. This drawing started its journey as a still life with multiple objects including this gramophone, but gradually the gramophone reproducer took the starring role.

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THE TRANSPARENCY OF SUMMER. DEBORAH L. FRIEDMAN Colored pencil on vellum Strathmore bristol board / 17½" × 24" (44cm × 61cm)

SPHERELLIPSIS. AMBER-ROSE HULME Pastel on paper / 26" × 19" (66cm × 48cm)

I am often drawn to views out of windows, finding myself reflecting on more than the view itself, and decided to use this format to explore depth, mood, atmosphere and contemplation. This drawing combines an in-focus middle ground with an out-of-focus landscape background to establish depth and intensify the color and lighting. There is a tension between the objects on the windowsill and the light streaming in from the outside, which I feel establishes the emotional resonance of the drawing, in this case, the light and mood of summer.

We depend on perspective to make sense of our surroundings. Our brains have familiar formulas that help us judge distance and size. Yet we can create objects that distort our reality, breaking these formulas. Standing in front of a shop window, my body was twisted, flipped and stretched as my eyes scanned the metal orbs suspended behind the glass. Each globe had its own rules. In one was a realm in which everything curved; in another, a concave orb, everything looked normal but inverted. Reflected in the shop window, the building behind me created a stark contrast with its hard lines obeying conventional perspective. For this piece I had to trust my eyes as I worked from my photograph, drawing the reality as I saw it, not attempting to understand it, just to observe.

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RICHES AND HONOUR. EILEEN NISTLER Colored pencil on black 4-ply museum illustration board / 16" × 20" (41cm × 51cm)

Peonies are my favorite flower. They are native to China and are called flowers of riches and honor by the Chinese. These peonies are from my own flower bed; I have over twenty peony bushes in my yard. This painting was from a reference photo I took. I created this with a dark, dull background to create depth by allowing the flowers and pottery to come forward. The mid-century Roseville pottery adds a dimension of time.

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WE ARE LIONS HEAR US ROAR. EILEEN NISTLER Colored pencil on black 4-ply museum illustration board / 11" × 18" (28cm × 46cm)

In the spring the dandelions are abundant. I love finding big fat neglected ones with long stems and pulling out fine vases to create little vignettes. This painting was created from reference photos I’ve taken. I like to construct drama in my paintings, so I put my subjects in a natural spotlight amidst the surrounding darkness. This helps create an illusion of depth.

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A(M)BITI PERSONALI #4. CRISTINA IOTTI Colored pencil and graphite pencil on Arches hot-pressed paper / 12" × 12" (30cm × 30cm)

My works depict a dress hanging in an undefined space. I add wallpaper or a patterned background that I intend to be timeless and placeless so viewers are free to think that it could be anywhere. The dresses I represent belong to me. I give them a new life by drawing them; in the process they become remembrances of emotions and experiences. I start by taking a photo of the dress. I then realize the drawing with colored pencils and graphite pencil, using several passes of delicate crosshatching with different gradations of pencils, combined with several layers of colored pencils. I pay much attention to the shadows so I can obtain a very realistic and three-dimensional work.

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LET IT SHINE. CYNTHIA C. MORRIS Colored pencil on 4-ply museum board / 14" × 21½" (36cm × 55cm)

re-flect [ri-flékt] To cause or permit the collision of a beam of particles with a surface, resulting in its partial or complete return into the medium originally traversed, to show as an image. With this particular piece I constantly have viewers asking, “How did you make it shiny with colored pencils? Did you use a silver pencil?” I explain, as simply as possible, how the subject is merely picking up the images of its surroundings, and how I interpret those reflected images in the way of shapes and colors in my drawing. It’s fun to watch their faces once they understand the process and start seeing the world around them with new eyes.

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The Figure in Studio & Street UNTITLED. MARINA FRIDMAN Charcoal on paper heightened with white 18" × 24" (46cm × 61cm)

I am fascinated by what cannot be seen but can be palpably felt. Experiences thicken the air and are embedded in the walls. My work explores the hidden life of these interior spaces as well as my own internal life. Often my focal points are windows or doorways, portals to lead you somewhere. Yet here the focal point is the white of the paper, in essence, “nothing.” I think that “nothing” is often the most important thing and suggest in my work that perhaps the physical is merely a façade, or a vessel to an incomprehensible depth.

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AT PEACE. JEFFREY WEEKES Colored chalk on toned paper / 10" × 14" (25cm × 36cm)

IN THOUGHT. GUOYUE DOU Pastel on pearl gray Stonehenge paper / 28" × 20" (71cm × 51cm)

The subject, my partner, is a woman whose challenges rarely offer her the solace of this moment of peace I was able to capture. The simple setting—the warmth of our bed—paired itself serendipitously with what became the limited warm palette of colored chalk I chose as my medium: Sanguine (orange), Sepia (umber) and black with hints of Cadmium Red and Cadmium Yellow to distinguish her tattooing, an equally telling tale of solace. The hours spent filling the holes of the paper, capturing her form, also reflect the state in which I, as the artist, find myself … at peace.

Working from a reference photo that generated my motivation, I started off with a compositional layout of the entire image. I focused the source of light above the subject to portray a celestial quality. Using gentle pastel strokes and blending techniques, I achieved a soft, daydreaming look to the portrait, with no hard edges. The heavy mild-gray pastel paper provided contrast with her white dress and supple skin, signifying purity. The portrait depicts an angelic young female lost in thought, holding her braid while looking off into the distance, thinking of what a wondrous life lies ahead of her.

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PREP FOR THE RACE. LEANNE PENNER Charcoal and pastel on 140-lb. (300gsm) Fabriano 5 watercolor paper 16½" × 22½" (42cm × 57cm)

FINDING HOME. PATRICIA ELLIOTT SCHAPPLER Graphite and collage on white and cream Stonehenge and BFK papers 84" × 240" (2m × 6m)

Within the chaos of the pits, with fans, bikes, cars and drivers getting ready to race, over to the side was a gentleman quietly cleaning his 1928 AJS as if nothing else was happening around him. Time slowed down and I was drawn into his peaceful moment. Working from a photograph, I start with a detailed pencil line drawing, then block in the tones and shapes with pastel. Next I build multiple layers alternating between charcoal and pastel. When finished, I spray with a workable fixative, then go back and apply more charcoal/pastel to the darkest areas, making them as black as possible, adding dimension.

Most of my models in this piece are family members, some students and a few friends. As the image unfolded, I was interested in conveying familiarity, the passage of time and the sense of generations. It became a way of seeing the rhythm of day-to-day life within a large family. A sea of mothers, daughters, grandmothers and sisters as well as brothers, husbands and sons splashes across the four panels, reflecting the noise and energy of my family. When supplies first arrived and I held my huge box of 500 pencils, I laughed at the absurdity of working at this scale with graphite; at the same moment I knew its rightness. These materials would display the difficulty, complexity and joy of what it is to be part of a family. Four hundred and twenty-one graphite pencils were worked down to dust in my hands by the end of a drawing about life, coming closer to this thing we call home.

Visit artistsnetwork.com/strokes7 to download free bonus wallpapers from the Strokes series.

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COURTNEY. LARA MARSHALL Charcoal and white chalk on paper / 42" × 18" (107cm × 46cm)

This drawing was done from life in a studio setting. Over several weeks, layers of charcoal and white chalk were used to build up light and shadow, giving an illusion of depth. However, an even more important component in achieving depth is good drawing. Value can add a great deal but only when it is built on top of a solid drawing. When each line of the drawing is in correct relationship with other lines across the form, depth can be felt even before value is added.

SEARCHING. STEVEN DALUZ Charcoal and PanPastel on Rives BFK paper / 46" × 39" (117cm × 99cm)

This drawing is from a combination of small studies and my own photographic reference, used to capture the details of the tattoos. The young man, late 20s, strong and virile, reveals a sense of vulnerability in his posture. The jeans and tattoos place him in today’s world where he hears conflicting messages: “Don’t be so macho, but don’t be a wimp.” Living at home with his parents, he finds difficulty launching his life into adulthood. The tats reflect purely personal choices—perhaps the only things he feels he has control over in the present age. I focused entirely upon the figure, placing him in a stark, vacuous space, divided only by a single horizontal line.

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SCREAM. JOLANDA RICHTER Colored pencil and watercolor on paper / 9½" × 9½" (24cm × 24cm)

DON’T CONTACT ME AGAIN. SIMONE TOCCO Charcoal and white pencil on toned paper / 25" × 20" (64cm × 51cm)

Scream is the sketch for an oil painting, but I wanted to make it a stand-alone graphic version of this theme. So I looked for an uncommon drawing method. I decided to prime the paper with watercolor and then sketch with smooth, wax-based colored pencils. This unusual setup allowed me a loose and spontaneous expression. The essence of this artwork is a timeless emotional statement—a reflection of our inner worlds—in this case, that of a maltreated child. My artworks reflect my authentic self. They are an open system for the viewer. When I present my work, the viewer is asked to consider his or her own emotions.

I hired a model, set up the composition in a studio and did a photo shoot with my pro SLR camera. I then made some sketches in graphite. I created the final drawing in charcoal and white pencil because I believed it was the best black-and-white technique to make it realistic and dramatic. The story behind my unusual title—Don’t Contact Me Again—is pretty simple: It was the very last text message I got from my ex. I turned that awful text into the title of one of my best artworks. Resilience through art.

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ETUDE DU PORTRAIT DE FLORIANE. NICOLAS BORDERIES Charcoal and white art chalk on paper 25½" × 19¾" (65cm × 50cm)

As a portraitist it is important to spend time with my sitters; the more we are familiar, the better. Working in black and white allows me to focus on what I am really looking for in my portraits: to clearly recognize my sitters, physically as well as psychologically. Floriane seems to be lost in her dreams as she looks into the distance. Her gaze invites us to imagine the place around her. I always like to juggle depth, psychology, space and good proportions in my portraits.

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MY MOTHER-IN-LAW. ALIK KAN HB and 2B graphite pencil on 60-lb. (125gsm) Lana Esquisse paper 12" × 16½" (30cm × 42cm)

Kateryna Andreevna came to visit and we worked on my wife’s genealogy, connecting names and life stories. I do not think she even noticed when I took out my sketchbook. My mother-in-law is normally a very sunny person, so her serious mood sparked my interest. I completed the drawing from life in one sitting, reworking it a bit after she left, using a photo I had snapped. Graphite can be worked in many layers, like oils, but with the paper as your only white. I like to let this white shine through for a more vibrant result.

DEPTH. THEO FELIZZOLA Charcoal on sketch paper / 18" × 21" (46cm × 53cm)

This drawing was an exercise in depth. It was done from life in a drawing class taught by artist Zin Lim. To exaggerate the distance from the model’s beautiful dark hair to the tip of her toes, I chose to draw from an angle that showed a lot of overlapping of forms. On the head I detailed as much texture and value contrast as I could. Moving back in space, I let the values be closer and relied more on losing some of the edges and lines.

Visit artistsnetwork.com/strokes7 to download free bonus wallpapers from the Strokes series.

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THE RED TIE. BIG AL LOPEZ Pen, brush and ink on 140-lb. (300gsm) watercolor paper 15" × 11" (38cm × 28cm)

This was drawn at Figure Sketch Sessions, where a small group of artists draw costumed figures in a local frame shop. The model for The Red Tie is a local sideshow performer and juggler, The Great Richy Bee, who mixes comedy and danger. He started out juggling during the session’s quick poses and ended up in this great pose of relaxation. The red on the tie was added to detract from the fact that the ink had started to run.

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RASA AT REST. BIG AL LOPEZ Pen, brush and ink on 140-lb. (300gsm) watercolor paper 15" × 11" (38cm × 28cm)

This was also drawn from life at Figure Sketch Sessions. The models pose atop a framing table providing an unusual angle. Standing at an easel just a few feet from the table gave me an up-close view that helped me create slightly exaggerated perspective. From the closest point of reference, the forward hand, the rest of the figure quickly recedes back into space. The irony of the pose is that Rasa is an electrifying dancer whose session was titled “Draw Rasa Vitalia bringin’ da Funk to Figure Sketch!”

TAKEOUT SURPRISE. STEVEN HUGHES Charcoal on vellum / 24" × 54" (61cm × 137cm)

I wanted to combine the illusion of space with a more two-dimensional design of the pictorial space. The creation of believable depth was important for the larger-than-life scale needed at the conclusion of the triptych, and the sequential rhythm of the narrative is aided by the blending of figure and ground spaces from one panel to the next. Inspired in part by Alice in Wonderland, the story reflects a growing realization that as you age, ordinary things may begin to elicit new reactions, and not always for the better.

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DOUBT. ROBERT SCHEFMAN Charcoal on paper / 60" × 40" (152cm × 102cm)

SIESTA & AMARYLLIS. JAMES BRYAN Derwent graphite on Rives BFK / 11¼" × 15" (29cm × 38cm)

Doubt grew out of a trip to the Middle East where I couldn’t ignore the collision between politics and carbon. This translated into a series of large-scale drawings that explore “carbon issues” and our creative/destructive nature. This drawing uses depth both as a theme (i.e., the absurdity of a ladder in response to the increasing depth of the oceans) and in the compositional depth. The illusion of depth is created by piling up thousands of marks of charcoal on Arches cover paper. Initial reference photos were taken at the New Jersey shore where my model and I learned that waves do not simply pass through a ladder. The drawing is a composite of a number of reference sketches and photographs.

I noticed this man resting in the sun on a lunch break during a cold day at a construction site. I was drawn to the contrast of light and shadows on his face and torso. Before the man went back to work, I quickly took a few photos with my phone so I could finish the details later. I did an initial sketch for scale and placement of values. After transferring the sketch to BFK paper, still on site, I started to lay in the shadows and lights. This was only partially complete when the man was called back to work. After finishing the drawing of the man at rest, I added the flowers for an extra dimension. I wanted to foster the sense of depth and to help create an illusion from the man’s resting mind, as if in a dream.

Visit artistsnetwork.com/strokes7 to download free bonus wallpapers from the Strokes series.

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DANCING SHOES. HOLLY SINISCAL Prismacolor color pencil on Stonehenge paper / 24" × 14" (61m × 36cm)

ADRIFT. SHAWN FALCHETTI Colored pencil on sanded pastel paper / 19" × 29" (48cm × 74cm)

I wanted to create a series of portraits using high contrast lighting. As I was experimenting with the lighting on my subject, I became fascinated by the moments of reflective light on her skin, as well as the shadows cast on the wall behind her. These shadows seemed to pull and ground the model to her surroundings. The slightly raised angle of perspective strengthens her connection to the environment and helps us feel the tight, shallow space.

Adrift was completed using Caran d’Ache Luminance colored pencils on a full sheet of black Canson Mi-Teintes Touch paper. Strong natural light shapes the peaks and valleys of the blanket and gown. The quilt’s pattern creates dimensional movement and helps organize and define the form. The rendering of the pattern was accomplished by focusing on 3" × 3" (8cm × 8cm) sections until all of the squares were “stitched” together. Heavier final layers of color and fabric details were then added. The cerulean blue arc of the gown combined with the white-capped blanket folds helps to evoke a dreamy, oceanic scene.

“Dimension and depth form the framework for the viewer to explore your scene.” • SHAWN FALCHETTI

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RECLINING KATHERINE. DIANE GREENBERG Graphite and white pencil on toned paper / 11" × 16" (28cm × 41cm)

CROUCH START: CITIUS, ALTIUS, FORTIUS. ANNE CAVANAGH Charcoal on Mylar / 40" × 30" (102cm × 76cm)

I happened upon my daughter Katherine, who had fallen asleep on the sofa. I grabbed my camera and then was compelled to draw the image. Your eye should travel through the drawing as if you are traveling through a landscape. Katherine’s S-shaped posture is reminiscent of a road winding away into the distance. This drawing was done using an ebony graphite pencil on smooth gray-toned paper. A white Derwent drawing pencil was used to highlight her shirt and face.

My rendering of this female athlete attempts to move beyond the physical to render the complexity and energy of the human essence. While its creation involved many hours, the initial concept and the final work aimed at a raw, intimate gut response to a moment. I have come to see my work as existing in its own dimension that is both reflective of the hurried time we live in and paradoxically joined to the time-consuming process of classical drawing. I want to link past traditions of rendering the human form to contemporary art, expressing universal emotions. My method involves life-size charcoal gestural sketching, rubbing and blending (often done with my fingers) on a semitransparent, skin-like Mylar surface.

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“Drawing fascinates me with its boundless spontaneity of expression where lines, smudges, scratches and even errors can become an unexpected advantage in the finished image.” • ARINA

STEAMPUNK HATTER. ROXY PILARSKI Graphite and color pencil with ink accents on mat board 20" × 16" (51cm × 41cm)

Occupational hazards have left Hatter a misunderstood character in Wonderland. Little remains of the real Hatter in this absurd Steampunk version. Long-term exposure to mercury vapors has brought about dementia— lucid moments are few. The torment he must endure is that, though time has stopped at six o’clock, it continues to tick away for him.

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LITTLE PIANIST. ARINA Charcoal, gesso and oil on canvas / 12" × 9½" (30cm × 24cm)

HIMBA, CHILD OF AFRICA. BARBARA EDWARDS JOLLY Stippled ink on bristol paper with colored ink / 12" × 9" (30cm × 23cm)

The blank paper or canvas mesmerizes me, pulling me in, demanding I take a brush or pencil and start outlining images on its restrictive surface. But once I start, a miracle occurs and all the limitations have gone; there is neither a flat nor a limited surface anymore! A new reality begins with its own three-dimensional world of feelings, movement and drama.

Dear friends of mine travel the globe and permit me to use their photos for my work. Fascinated by this beguiling pose, I sought to capture this child’s appearance of being savvy yet innocent. The entire drawing is stippled with colored ink pens in various nib sizes of Micron and Stabilo pens. Stippling allows me to focus on the facial details while colored ink indulges my passion for vibrant hues.

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P.S. 93. ALEX BECK Mechanical pencil on Moleskine paper / 7" × 8" (18cm × 20cm)

REBEKAH. PATRICIA ELLIOTT SCHAPPLER Graphite and collage on Stonehenge paper / 65" × 48" (165cm × 122cm)

I became inspired when collecting old photographs and family photo albums while I briefly lived in Kansas City, Missouri. One of my favorites was a class photo of at least 100 kids. I chose the best from the group to recreate a similar scene and added a bear scarfing down a child. I worked in a large studio with around 30 other artists in an abandoned industrial area at the top floor of a building labeled “Hobbs.”

Rebekah is a mixed-media drawing using graphite and collage. I transferred images of leaves and variations of green patterns onto sheer films and transparent papers to build the garden environment. The model is a friend who represents herself but also other women with the simplicity, strength and grace of her gesture. Building the graphite in layers of hatching, crosshatching and wrapped line, the figure developed sensually. I wanted the viewer to feel both her physical weight and mass as well as her compelling proximity.

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SILHOUETTE & PARASOL. TRICIA KAMAN Pastel on sanded paper / 24" × 21" (61cm × 53cm)

CARPE DIEM. TANJA GANT Graphite on Strathmore bristol paper / 8" × 10" (20cm × 25cm)

This portrait was done from life in my studio. The model brought a Chinese parasol with her as a prop. What really struck me about her pose was the way the light shone through the paper of the parasol, creating a beautiful foil for her profile. I worked on a toned, sanded pastel paper and lightly scumbled the pastel onto the surface, allowing me to capture the subtle changes in tone. With her whole figure in silhouette against a lighter background, the negative shapes took on great importance.

The subject of Carpe Diem is my sister-in-law, who decided on the spur of the moment to smoke a cigar, her first and only one. It was almost an act of defiance, the rite of passage into the golden years. I used a grid to transfer the image onto paper, keeping the composition fairly simple. I wanted to challenge myself by working on a smaller scale using only three shades of graphite and adding as much detail as I could, which I felt would add more depth to the composition.

Visit artistsnetwork.com/strokes7 to download free bonus wallpapers from the Strokes series.

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GIRL WITH A WATER JUG. MAU-KUN YIM Pencil on drawing paper / 25½" × 19¾" (65cm × 50cm)

This was a teaching demonstration. The purpose of this demonstration was to help my students understand the relationship between the model and objects in the drawing. There is an interesting combination of textures: human, cloth and porcelain. It also represents my philosophy of drawing: Drawing is a pure and spiritual art form rendered by a variety of techniques, not only a form of training.

ADVANCED FEMALE. HAK CHUL KIM Willow charcoal and charcoal pencil on Legion Lenox 100 drawing paper / 40" × 30" (102cm × 76cm)

I always take a lot of time to consider my concept and the gesture of the form, so I took a lot of photographs of the model for this drawing. The human figure alone does not inhabit deep space. Photos help me to create a composition with dimension and depth, and enable me to work on a pose for a long time. I settled on the gesture that forms a triangular structure in space. I use a classical drawing technique: accurate observation of an object in its environment, emphasizing value contrast, edge control, form and shape, and detail. I used my thumb a lot in this drawing to rub in the thicker charcoal in the deep shadow areas to help with the perception of depth.

Visit artistsnetwork.com/strokes7 to download free bonus wallpapers from the Strokes series.

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VIOLINIST’S COMPOSITION. MICHAEL HISCOX Pen and ink on 300-lb. (640gsm) hot-pressed watercolor paper 17" × 22" (43cm × 56cm)

This image is partly the result of a happy accident. I took photographic references of friends playing a variety of instruments to create a series of artworks of musicians. My intention was to visually evoke the beautiful, reverberating sounds produced by these talented people, using the element of line. Along with the compositional arrangement of the musician and instrument, I aimed to portray a spatial depth stimulated by the performance, causing the viewer to feel enveloped in it. While developing sketches for this drawing, I happened to be working on a grated picnic table and playfully created a texture rubbing of it. The grated pattern became inspiration for the oval shapes in the background as I enhanced it with a spiral effect, concentric circles and interrupting static lines.

A WORLD OF MY OWN. YAEL MAIMON Soft pastel on Sennelier La Carte / 24" × 17" (61cm × 43cm)

In A World of My Own I wanted to capture feelings of frustration, sadness, hopelessness and isolation to depict my subject’s inner struggle. It’s also about the human need to sometimes withdraw from reality. Although we don’t know the story of this little girl, we can relate to feeling despondent and lost in thoughts. This piece was done using a very limited palette, and I was surprised to see how far I could go with just a few colors.

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“Is there anything deeper than connecting with, and conveying, your subject’s soul?” • YAEL MAIMON

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Contributors

ELEANOR ADAM 78 W. 120th St. New York, NY 10027 917.821.7332 [email protected] eleanoradam.com p14 Before the Fall (Dad) WAGNER ANARCA 6872 N. Powerline Rd. Fort Lauderdale, FL 33309 954.971.9229 [email protected] anarca.com p72 Mister Zzzz SHIZUKA N. AOKI 75 Portland St. Suite 915 Toronto, ON, Canada M5V 2M9 905.599.5327 [email protected] anatomize.com p25 Ryan ARINA MA, SWA, PSA London, UK +44 7783597928 [email protected] arina-art.com p126 Little Pianist CECILE BAIRD CPSA, 10-year merit recipient 7025 Woodland Trail Hillsboro, OH 45133 937.365.1680 [email protected] cecilebairdart.com p94 Light Up Your Life ALEX BECK The Torpedo Factory 1313 N. Greenbrier St. Arlington, VA 22205 571.236.0531 [email protected] alexthebeck.tumblr.com p128 P.S. 93 JAMES BECKER [email protected] jamesbeckergalleries.com p90 Prowler Front 3/4

ANDREJ BLAZON +386 40 268 183 [email protected] andrejblazon.com p32 Child (HaiQal) JOHNNY BONE 615.394.6531 [email protected] johnnybone.com; facebook.com/johnnyboneart p27 John the Disciple NICOLAS BORDERIES [email protected] nicolasborderies.blogspot.com p116 Etude du Portrait de Floriane JASON BRADY [email protected] muddledglimpses.com p60 Pyrrhic Victory CHRIS BREIER Buffalo, NY [email protected] cbreier.com p57 Seneca Street p98 Fruit & Mail CYNTHIA BRUNK CPSA, Cape Cod Art Association, Falmouth Artists Guild 10 Periwinkle Lane Mashpee, MA 02649 508.477.2511 [email protected] cynthiabrunk.com p33 Annabel No. 3 JAMES BRYAN 131 Bryanwood Dr. Jefferson, GA 30549 706.410.5146 [email protected] jbryanstudios.net p121 Siesta & Amaryllis GIULIA BUCCIARELLI Via Albania, 8 (+39) 339 7111 045 [email protected] facebook.com/giuliabucciarelliarte p38 Daydreaming

DEAN BUHLER Denver, CO 303.607.0488 [email protected] deanbuhler.fineartstudioonline.com p36 In Her Eyes JOE BURGESS J.B. Imagery Riverton, UT 801.326.9223 [email protected] jb-imagery.com p68 Control PAT DEVANE BURNS OPA, AWA, NSS 274 English Rd. Forsyth, GA 31029 478.992.9427 [email protected] patburnsart.com p80 Getting Hitched ALESSIA LEVONIQUE CANDRA 108 Holland Rd., #04-02 Singapore 278551 (+65) 82987577 [email protected] alessialevonique.com p85 Red Gems ANNE CAVANAGH 468 Thompson Ave. Peterborough, ON, Canada K9J 6J3 [email protected] annesstudio.com p125 Crouch Start: Citius, Altius, Fortius DENNIS W. CHEANEY New York, NY [email protected] dennischeaney.com p17 Self-Portrait SHIRLEY CLEARY 1804 Belt View Dr. Helena, MT 59601 406.433.4535; 406.461.6180 [email protected] shirleycleary.com p44 O’Connor’s Place

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STEVEN DALUZ 1803 Saxonhill Dr. San Antonio, TX 78253 210.326.7196 [email protected] stevendaluz.com p113 Searching

THEO FELIZZOLA Rua Simao Bolivar #772 Porto Alegre, RS, Brazil 91.920-800 +55 51 93494273 [email protected] theofelizzola.com p117 Depth

BRENDEN DAUGHERTY Girard, PA 814.464.7870 brendendaugherty.com twitter.com/daughertyart instagram.com/daughertyart p13 Diggs

MARINA FRIDMAN [email protected] marinafridman.com; thedrawingsource.com pp106–107 Untitled

RODNEY O’DELL DAVIS 513 Fourth St. West Pittston, PA 18643 386.215.4553 [email protected] p22 Rue SANELA DIZDAR 21 Huck Crescent Kitchener, ON, Canada N2N 3N8 519.570.2510 [email protected] sanelaart.com p40 Theo JOHN PHILBIN DOLAN OPA, PSA, Pastel Society of New Mexico Santa Fe, NM [email protected] philbininc.com p33 The One – Preliminary Drawing GUOYUE DOU 16 Doral Gate Thornhill, ON, Canada L37 7K6 [email protected] doufineart.com p109 In Thought BETHANY WINDHAM ENGLE [email protected] Littlehouse Galleries, Birmingham, AL p98 Rhododendron Blossoms II JASON ESPEY [email protected] jasonespey.com p91 Naughty Pumpkin SHAWN FALCHETTI CPSA [email protected] shawnfalchetti.com p123 Adrift DANIELLE FEIGE 381 N. 700 W. Blackfoot, ID 83221 208.220.6264 [email protected] daniellefeige.com pp62–63 Roosting Hens

DEBORAH L. FRIEDMAN CPSA, Signature Member; CLWAC, Elected Member; Allied Artists of America, Elected Member 46 Chestnut St. Wellesley, MA 02481 617.549.7035 [email protected] dlfriedman.com p100 The Transparency of Summer TANJA GANT CPSA, Portrait Society of America, International Guild of Realism [email protected] tanjagant.com p29 Shadows p131 Carpe Diem EMILY GARLICK [email protected] p10 Maduky LYNNE GARLICK [email protected] p20 Esme’s Curiosity p99 If Music Be the Food of Love, Play On DOUGLAS GILLETTE Academic Artists Association, Connecticut Academy of Fine Arts, North Shore Arts Association 18 Bobolink Lane Enfield, CT 06082 860.763.3766 [email protected] douggillette.com p92 Speed King ELENA E. GREEN Sydney, NSW, Australia +61 459 980 623 [email protected] elenaegreen.com elenaegreen.tumblr.com p23 The Eye of the Day TAYLOR J. GREEN Wollongong, NSW, Australia (04) 3252 1884 [email protected] taylorgreenart.com p25 B. Murray

DIANE GREENBERG Philadelphia Water Color Society, New Hope Art League, Artsbridge 3718 Windy Bush Rd. New Hope, PA 18938 [email protected] dianegreenbergart.com p124 Reclining Katherine HANS GUERIN OPA, NOAPS P.O. Box 83 Hampstead, MD 21074 [email protected] hansguerin.com p65 Panthera Tigris Tigris LORNA HANNETT MSA, SFCA, International Society of Scratchboard Artists, Federation of Canadian Artists [email protected] lornahannett.com p84 Colored Pencils DAVID HARDY Atelier School of Classical Realism, Portrait Society of America 4220 Balfour Ave. Oakland, CA 94610 510.407.1336 [email protected] davidhardy.net p15 I Hear Him in the Night LINDA LUCAS HARDY CPSA, NOAPS, OPA 510 Scott St. Omaha, TX 75571 [email protected] lindalucashardy.com p95 Light Crisp Tasty – Fortune Inside KATHY HILDEBRANDT AFCA, MPAC, PSA Calgary, AB, Canada 403.616.8851 [email protected] kathyhildebrandt.com p89 Slap Shot MICHAEL HISCOX 570.592.5073 [email protected] mikehiscoxart.com p134 Violinist’s Composition DENISE J. HOWARD CPSA, UKCPS, MPAS Santa Clara, CA [email protected] denisejhowardart.com p66 Dreaming Big

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STEVEN HUGHES Primary Hughes Illustration 2110 Presque Isle Ave. Marquette, MI 49855 [email protected] primaryhughes.com p18 Self-Portrait With Skull pp118–119 Takeout Surprise AMBER-ROSE HULME [email protected] artbyamberrose.com.au p61 Lost at Sea p101 Spherellipsis YUKA IMATA 347.239.3278 [email protected] yukaimata.com p39 Portrait of Dolph Traymon CHRISTINA IOTTI [email protected] cristinaiotti.it p104 A(m)biti Personali #4 JANINA JACKSON Cape Bridgewater, VIC, Australia 0429 987 930 [email protected] artsatlassw.com.au/janina-jackson; facebook. com/nestandseedfineartbyjaninajackson p79 orphaned starved almost dead rescued saved loved BARBARA EDWARDS JOLLY [email protected] p127 Himba, Child of Africa KARLI JOPP 19675 Wilson St. NW Elk River, MN 55330 612.239.8263 [email protected] karlijopp.wordpress.com p41 Seeing Beauty CHAN SOK YIN JULIANA Artists Society of Singapore 33 Punggol Field #08-17 Singapore 828817 (+65) 91186751 [email protected] nschanstudio.com p93 Honesty of Time TRICIA KAMAN Allied Artists of America, Portrait Society of America, Pastel Society of America 2026 Murray Hill Rd. #202 Cleveland, OH 44106 216.559.6478 [email protected] triciakaman.com p130 Silhouette & Parasol

ALIK KAN [email protected] p116 My Mother-in-Law HAK CHUL KIM 53-22 Francis Lewis Blvd. Oakland Gardens NY 11364 415.722.0030 [email protected] p132 Advanced Female

YAEL MAIMON Ashkelon, Israel [email protected] yaelmaimon.com p73 Deer, Midday p135 A World of My Own

ONA KINGDON CSPWC, CWA, PWS Richmond Hill, ON, Canada [email protected] onak.ca p74 Paws for Thought

MARIE MAINES PSA, Signature Member; Pastel Society of the Southwest, Signature Member; Artists of Texas, Juried Member 7909 Woodland Dr. North Richland Hills, TX 76182 817.503.8371 [email protected] mariemaines.com p16 Ray

MIKE KLIEMAND Cottbus, Germany [email protected] artmajeur.com/mike-kliemand/ p6 Book Stories

LARA MARSHALL Hoffman Estates, IL [email protected] laramarshall.com p112 Courtney

MIKE BARRET KOLASINSKI PSA; International Association of Pastel Societies, Master Circle; Chicago Pastel Painters, Master 4124 N. Monticello Chicago, IL 60618 773.583.8391 [email protected] mikebarretkolasinski.com p64 Keats

CANDY MAYER 1317 Tierra Roja El Paso, TX 79912 915.581.4971 [email protected] candymayer.com p58 Henry Trost in El Paso

DIMITRINA STAMBOLDJIEV KUTRIANSKY St. Louis Artists’ Guild, Art Saint Louis 1811 Ramada Blvd. Unit 9 Collinsville, IL 62234 618.978.7377 [email protected] dimitrinakutriansky.com pp54–55 A Vanishing Era LACEY LEWIS 913.909.5408 [email protected] lacey-lewis.com p17 Shannon GEORGE LOLI Louisiana Watercolor Society 116 St. Julien Ave. Lafayette, LA 70506 337.232.3231 [email protected] georgeloli.com p53 Chartres, France – The Cathedral BIG AL LOPEZ International Society of Caricature Artists, Art Guild of the Delta, Livermore Art Association [email protected] bigalart.com; pinupshow.com p118 The Red Tie p119 Rasa at Rest

KATHLEEN MCDONNELL PSA, Associate Member; Pastel Society of the West Coast, Signature Member; Pastel Painters Society of Cape Cod, Signature Member 87 Hardwood Court Glenwood, NY 716.592.9250 [email protected] kathymcdonnell.com p45 Morning Mist STUART MEYER-PLATH Sculptors Queensland 20 Phillips St. Burpengary, Qld, 4505, Australia 61468 633 636 [email protected] stuartmeyer-plath.wix.com/stuart-meyer-plath p54 North Gate, Angkor Thom, Angkor Complex, Cambodia p55 Preah Khan, Angkor Complex, Cambodia ELLEN MILINICH 440 N. Westfield St. Visalia, CA 93291 [email protected] ellenscharcoalportraits.com p35 Facing the Future TERRY MILLER Takoma Park, MD terrymillerstudio.com p50 In the Bleak Midwinter

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GAIL A. MITCHELL Baltimore Watercolor Society Carlisle, PA [email protected] p90 Keys of Life HEATHER A. MITCHELL P.O. Box 1494 Pensacola, FL 32591-1494 850.361.7290 [email protected] heathermitchelldraws.com p77 Shepherd Pause DC MORALE’ New York, NY [email protected] dcmorale.com p31 The Classifieds CYNTHIA C. MORRIS CPSA, Best of Missouri Hands 31140 Highway UU Warsaw, MO 65355 660.287.2931 [email protected] cynthiacmorris.com p30 Look on the Bright Side p105 Let It Shine ELAYNE MOSELEY Art Students League of Denver, faculty; Colorado Artists Guild 303.751.4806 [email protected] emoseleygallery.com p56 The Market ANNIE MURPHY-ROBINSON La Luz De Jesus Gallery, Hespe Gallery [email protected] anniemurphyrobinson.com p21 The Firelight (Listening to Stories) EILEEN NISTLER CPSA, CPX, APA P.O. Box 321 Upton, WY 82730 307.468.9270 [email protected] eileennistler.com p102 Riches and Honour p103 We Are Lions Hear Us Roar ERICA NORELIUS Cerrito, CA [email protected] ericapollock.com p26 Naseem KARIE O’DONNELL Society of Animal Artists, Associate Member; Pencil Art Society 80 Ocean Street, P.O. Box 288 Brant Rock, MA 02020 [email protected] karieodonnell.com p70 Wood Duck

ELIZABETH PANEPINTO Sarasota, FL 941.356.1302 [email protected] p67 Coneflower and Bee p75 Peace for a Stray PAULA PARKS CPSA, Women Painters of Washington, Seattle Co~Arts 16547 Ashworth N. Shoreline, WA 98133 206.546.0964 [email protected] womenpainters.com/BIO/BioSet.html p59 The Sentinels LEANNE PENNER Sechelt, BC, Canada [email protected] leannepenner.com p110 Prep for the Race DARLENE JORDAN PFAFF Pencil Art Society [email protected] getpenciled.com p51 Exposed DEBI PICKLER Society of Children’s Book Writers and Illustrators, Best of Missouri Hands, International Guild of Realism 27 Whinhill Court St. Charles, MO 63304 314.805.3324 [email protected] debi-studios.com p28 Character ROXY PILARSKI Society of Children’s Book Writers and Illustrators P.O. Box 122 Mayfield, MI 49666-0122 p126 Steampunk Hatter DAN PYLE West Hollywood, CA [email protected] danpyleartist.com p87 Can Can p141 Negative DAVID RANKIN Ohio Watercolor Society, Society of Animal Artists, Artists for Conservation 2320 Allison Rd. University Heights, OH 44118 216.932.2125 Facebook: David Rankin Watercolors [email protected] davidrankinwatercolors.com p52 Kedarnath Temple p81 Young Langur

ANN RANLETT SSA; International Society of Scratchboard Artists, Signature Member; Women Artists of the West, Associate Member P.O. Box 960 Newcastle, CA 95658 916.300.5774 [email protected] scratchboardartbyann.com pp70–71 Tell Me More About “Sheep” TIM REYNOLDS aniartacademies.org p88 Overkill JOLANDA RICHTER Rehgartenstr. 7 3034 Maria Anzbach, Austria 0043 680 322 67 20 [email protected] jolanda.at p114 Scream JACQUELINE ROCH Pastel Society of America, Signature Member; American Impressionist Society; Southeastern Pastel Society 561 NW 32nd St. Studio #54 Miami, FL 33127 305.495.4047 jacquelineroch.com jrochfi[email protected] Meghan Candler Gallery, Vero Beach, FL p48 Islander Days p49 New Burn GINA RUGITO-ANDERSON CPSA, PAS, Mint Hill Arts 3403 Southern Ginger Dr. Indian Trail, NC 28079 704.807.2657 [email protected] ginasdrawings.com pp2–3 On a Downtime Train DAVID SANDELL UK Coloured Pencil Society [email protected] davidsandell.com p34 Inner Self PATRICIA ELLIOTT SCHAPPLER CAA, NHAA, PSA 33 Holbrook Rd. Bedford, NH 03110 [email protected] patriciaschappler.com pp110–111 Finding Home p129 Rebekah ROBERT SCHEFMAN 5800 Inkster Rd. West Bloomfield, MI 48323 248.882.8221 [email protected] robertschefman.com p120 Doubt

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ROGER SCHMIDT 51 Coventry Dr. Kitchener, ON, Canada N2A 1N2 [email protected] rogerschmidtfineart.com p37 Portrait of Jeremy DAVID SCULLY facebook.com/davidscullyart pp8–9 Courtney CAROLYN W. SHELBURNE Portrait Society of America, Georgia Ambassador; Portrait Society of Atlanta, Juried Member; Artist Guild of Northwest Georgia Kennesaw, GA 678.772.2441 [email protected] carolynshelburne.com p69 Lady Summer HOLLY SINISCAL CPSA hollyarts1.com p11 Shadow Abby p122 Dancing Shoes BETH SISTRUNK OPA, International Guild of Realism 5760 Shirley St. Suite 15 Naples, FL 34109 239.293.4904 [email protected] bethsistrunk.com p97 Quiet Reflection LAURENE SPINO [email protected] laurenespino.ca p71 The Hunt – Red-Tailed Hawk Couple LYN STCLAIR P.O. Box 1403 Livingston, MT 59047 [email protected] wandermuse.blogspot.com p78 Run With It VICTORIA STEEL [email protected] victoria-steel.com p5 Unforetold Expectations MICHAL STRASKA Horne Oresany 126 Horne Oresany 91903 Slovakia +421 905 79 39 40 [email protected] michalstraska.com pp42–43 Recycling?

ZIMOU TAN OPA, PSA, NOAPS 3310 Coolidge Ave. Oakland, CA 94602 415.823.6485 [email protected] zimoutanart.com p19 George SIMONE TOCCO info@simonetoccofineart.com simonetoccofineart.com p115 Don’t Contact Me Again URSULA TOELKE ursulatoelke.com p24 Joachim

STEVEN A. WILDA Allied Artists of America, National Society of Painters in Casein & Acrylic, Academic Artists Association 53 Rocky Hill Rd. Hadley, MA 01035 413.584.8482 [email protected] stevewilda.com p86 Vulture MAU-KUN YIM 5F, No. 158, Sec. 3, Zhong Xiao East Rd. Taipei, Taiwan 106 886.2.2741.9797 [email protected]; [email protected] yimaukunstudio.com p133 Girl With a Water Jug

LUCY TOLKUNOVA Frisco, TX 469.441.8209 [email protected] lucytolkunova.com p76 Still Life with Origami SUZANNE VIGIL CPSA, Signature Member 349 Cameron Station Blvd. Alexandria, VA 22304 703.867.8959 [email protected] suzannevigil.com p12 Evening in Paris JAMES W VOSHELL 815 Stablers Church Rd. Parkton, MD 21120 410.343.1468 [email protected] jamesw.voshell.com p46 The Embrace p47 Apple Tree in Snow SUSAN WALLACE [email protected] pp82–83 Love Bytes JEFFREY WEEKES Academy of Realist Art – Toronto 107 Gradwell Dr. Scarborough, Ontario 416.788.5233 [email protected] jeffreyweekesfineart.com p108 At Peace DEXTER A. WELCOME Ani Art Academy Anguilla P.O. Box 1672 The Valley, Anguilla AI 2640 1.264.584.6884 [email protected] p96 The Composer

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“The use of negative space in a composition can completely change the story told by your drawing.” • DAN PYLE

UNFORETOLD EXPECTATIONS. VICTORIA STEEL Charcoal and pastel on paper / 10" × 8" (25cm × 20cm)

NEGATIVE. DAN PYLE Charcoal on 100-percent rag, acid-free illustration board / 12" × 14" (30cm × 36cm)

Art appears on page 5. Unforetold Expectations is a surrealistic drawing that illustrates the effect time has on beauty. Venus de Milo, a goddess of splendor, stands as the center point in the composition. Over time, the sculpture was broken, and the once exquisite statue became a ruined vision of beauty. This drawing was created by blending charcoal and white pastel on paper, and is based on several reference photos.

Vintage objects are one of my favorite things to draw. I used to own one of these old cameras and loved the way the lens popped out with that accordion mechanism. I took a digital photo of this Kodak in an antique store. When I was working on my composition for the drawing, I decided to give it a twist by converting the image into a negative, which gave it a whole new dimension. I felt that drawing this camera as a negative image further supported its vintage theme, reminding us of the days when we had to use film.

Visit artistsnetwork.com/strokes7 to download free bonus wallpapers from the Strokes series.

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Index Abstraction, 72–73 Acrylic, 44, 58 Acrylic matte medium, 58 Acrylic washes, 44 Backlight, 35, 64 Blending, 17, 37, 78, 124, 133 Blue tac, 78 Brush and ink, 118–119 Canvas, 40, 44, 85 Charcoal, 8, 11, 13, 15, 21, 23–24, 27, 30, 32–33, 35, 37, 39, 50, 52, 60, 63, 76, 78, 83, 87–88, 96, 99, 106, 111–112, 114, 116–117, 119, 121, 124, 127, 141, 143 black, 37 vine, 16 white, 15, 24, 27, 37 willow, 18, 133 See also Pencils Charcoal powder, 27 Chalk colored, 108 white, 17, 80, 93, 112, 116 Chiaroscuro, 96 Collage, 58, 111, 128 Colored pencils, 3, 11, 13, 29–30, 35, 58, 66, 95, 100, 102–105, 114, 123, 126. See also Pencils Composition, 27, 29, 68, 74, 88, 131 Conté crayons, 17, 65 Contrast, 7–8, 24, 29, 34, 61, 64, 68, 87 Crosshatching, 17, 77, 104, 128 Depth, 3, 7, 17, 21, 24, 26–27, 32, 37, 42, 45–46, 48, 57, 63–65, 67, 73, 85, 87–88, 100, 102–103, 106, 112, 116–117, 119, 121, 123 Dimensionality, 3, 7, 21, 23, 27, 37, 58, 85, 88, 95–96, 104, 123, 127 Drawing, 112, 126, 133 digital, 81 gesture, 44 line, 57, 96, 111 on-site, 18, 54–55, 57–58, 63 Edges, 7, 34, 39, 44, 117, 133 lost and found, 25 Focal point, 25, 39, 52, 106 Foreshortening, 74 Gesso, 44, 65, 78, 127 Gouache, 39 Graphite, 7, 13, 15, 17–18, 25, 29, 32, 39–40, 50, 55, 63, 66–67, 69–70, 74, 76, 78, 80, 87, 92, 98, 111, 124, 126, 128, 131 Derwent, 121 woodless, 52 See also Pencils Graphite powder, 39, 71 Hatching, 128 Highlights, 35, 46, 57, 96

Impasto, 96 Ink, 25, 52, 57, 85, 98, 126 colored, 70, 127 India, 70, 85 stippled, 127 white acrylic, 57 See also Brush and ink Layering, 63, 96, 104, 111 Light, 18, 35, 47, 87, 91, 95, 99, 108 high contrast, 123 See also Backlight; Sunlight Lines, 16, 72, 117, 126, 134 hard, 100 lost, 78 wrapped, 128 Markers, 44, 57 Minimalism, 7 Mixed media, 128 Negative images, 141 Negative shapes, 131 Occlusion, 3 Oil, 78 Oil paint, 85, 127 Origami, 76 Over-drawing, 63 Palette, limited, 13, 44, 134 Paper bristol, 3, 7, 29, 40, 67, 69, 74, 91, 127, 131 cartridge, 54–55, 93 drawing, 98 Fabriano Artistico, 70, 78 gray, 37, 80, 108 hot-pressed, 104, 134 Mellotex, 71 Moleskine, 128 pastel, 17, 123 prepared, 39 printmaking, 21, 63 rough-tooth, 80 sanded, 21, 48, 65, 123, 131 sketch, 117 Stonehenge, 17, 58, 66, 95, 108, 111, 123, 128 Strathmore, 29, 35, 69, 98, 131 Terraskin, 50 textured, 17 toned, 13, 15, 17, 24, 39, 93, 108, 114, 124 vellum, 3, 7, 119 watercolor, 11, 57, 98, 111, 118–19, 134 See also Surfaces Pastels, 8, 23, 44, 48, 52, 61, 78, 96, 100, 108, 111, 131 hard, 88 Pan pastels, 37, 112 soft, 65, 73, 88, 134 white, 11, 16, 21, 23, 35, 60, 88, 96, 99 Pen and ink, 58, 74, 90, 118–119, 134 Pencils, 29, 58, 72, 91, 133 carbon, 15, 25 charcoal, 15, 18, 23, 133 graphite, 40, 46, 63, 71, 91, 104, 111, 117 mechanical, 128 pastel, 32, 88 Prismacolor, 95, 123 white, 114, 124 white charcoal, 15, 24, 27, 37 See also Charcoal; Colored pencils; Graphite

Pens artline, 54–55 crow quill, 57 fountain, 52 See also Pen and ink Perspective, 27, 40, 42, 61, 74, 100, 123 atmospheric, 37 linear, 3 Photo-realism, 91 Proportions, 54 Reflection, 30, 35, 105 Rubbing, 124 Sandiing, 21, 95 Scratchboard, 65, 70, 77, 85 Scumbling, 131 Shading, 78 Shadows, 3, 7, 18, 24, 29, 35, 46, 58, 87, 91, 95, 99, 123 Silhouette, 131 Size and scale, 3, 48 Sketching, 18, 21, 23, 39, 52, 55, 57, 63, 81, 90, 114, 118–119, 121, 124, 134 Solvents, 11, 78 Space, 18, 74, 96, 116, 119, 123, 133 negative, 8, 25, 54 positive, 8 Spotlight, 103 Stippling, 77, 127 Sunlight, 35, 46, 50, 66, 74, 121 Surfaces birch panel, 78 bristol board, 32, 50, 74, 100 distressed cardstock, 32 frosted acetate, 13 gesso board, 65 illustration board, 87, 102–103, 141 Masonite board, 85 mat board, 126 museum board, 30, 102–103, 105 Mylar, 124 pastel board, 44 See also Paper Texture, 3, 65, 80, 91, 93, 96, 133 Texture rubbing, 134 Tortillion stumps, 78 Trompe l’oeil, 88 Turpentine, 78 Value blend, 52 Value contrast, 7, 26–27, 117, 133 Value gradations, 17 Value range, 18, 27, 39 Value study, 44 Values, 29, 61, 96, 98, 112, 117 tonal, 7, 85 Washes acrylic, 44 India ink, 70 solvent, 78 watercolor, 11, 57, 74 Watercolor, 25, 51, 114 Window shading, 23 Workable fixative, 111

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Strokes of Genius 7. Copyright © 2015 by F+W, a Content and eCommerce Company. Manufactured in China. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review. Published by North Light Books, an imprint of F+W, A Content and eCommerce Company, 10151 Carver Road, Suite 200, Blue Ash, Ohio, 45242. (800) 289-0963. First Edition.

Other fine North Light Books are available from your favorite bookstore, art supply store or online supplier. Visit our website at fwcommunity.com. 19 18 17 16 15

5 4 3 2 1

DISTRIBUTED IN CANADA BY FRASER DIRECT 100 Armstrong Avenue Georgetown, ON, Canada L7G 5S4 Tel: (905) 877-4411 DISTRIBUTED IN THE U.K. AND EUROPE BY F&W MEDIA INTERNATIONAL, LTD Brunel House, Forde Close, Newton Abbot, TQ12 4PU, UK Tel: (+44) 1626 323200, Fax: (+44) 1626 323319 Email: [email protected] DISTRIBUTED IN AUSTRALIA BY CAPRICORN LINK P.O. Box 704, S. Windsor NSW, 2756 Australia Tel: (02) 4560 1600; Fax: (02) 4577 5288 Email: [email protected] ISBN 13: 978-14403-3671-3 Edited by Sarah Laichas Designed by Brianna Scharstein Production coordinated by Jennifer Bass

ABOUT THE EDITOR Rachel Rubin Wolf is a freelance editor and artist. She has edited and written many fine art books for North Light Books including Watercolor Secrets; the Splash: The Best of Watercolor series; the Strokes of Genius: Best of Drawing series; The Best of Wildlife Art (editions 1 and 2); The Best of Portrait Painting; Best of Flower Painting 2; The Acrylic Painter’s Book of Styles and Techniques; Painting Ships, Shores and the Sea; and Painting the Many Moods of Light. She also has acquired numerous fine art book projects for North Light Books and has contributed to magazines such as Fine Art Connoisseur and Wildlife Art.

ACKNOWLEDGMENTS Many thanks to the editors, designers and staff at North Light Books who have collected and organized material for me and taken care of the technical ins and outs of our online entries. It takes a village to turn artwork and captions into this beautiful finished book. My gratitude to publisher Jamie Markle and production editor Jennifer Bass. Special thanks, as always, to senior editor par excellence Sarah Laichas and designer Brianna Scharstein. My continuing gratitude to all of the contributing artists who, with much generosity of spirit, shared with us their work and their thoughts. Your art is inspiring and so many of your words are insightful and thought-provoking. Thank you also for getting the properly formatted digital photos to us in a timely manner, and for your fresh perspectives on life that enable you to create these beautiful drawings.

METRIC CONVERSION CHART

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Front cover image: Michal Straska | Recycling (p42) Back cover image: Gina Rugito-Anderson | On a Down Time Train (p2-3)

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Ideas. Instruction. Inspiration. Receive FREE downloadable bonus materials when you sign up for our free newsletter at artistsnetwork.com/newsletter_thanks.

These and other fine North Light products are available at your favorite art & craft retailer, bookstore or online supplier. Visit our websites at artistsnetwork.com and artistsnetwork.tv.

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Strokes of Genius

ART TECHNIQUES | DRAWING

“We may have formulas for creating perspective, but don’t assume that reality follows suit; reality is much more unexpected.” • AMBER-ROSE HULME, P61

7

Strokes of

“A spectator cannot mentally step into an artist’s creation without depth.”

Gen Ge nius

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• HANS GUERIN, P65

ING

DEPT TH,

TELL ME MORE ABOUT “SHEEP” BY ANN RANLETT, P 71

THE BEST OF DRAWING

THERE IS SOMETHING ALMOST MAGICAL

about looking at a two-dimensional surface and experiencing a visceral sense of depth and dimension. In this 7th edition of the celebrated Strokes of Genius series, 120 of today’s best artists share successful approaches to creating that wondrous illusion of space—from a tight, shallow place that reflects the emotional state of the model, to wide open vistas that seem to go on forever.

DEPTH, DIMENSION & SPACE

INSIDE YOU’LL FIND: • 135 inspirational drawings in charcoal, pencil, pastel, colored pencil, pen and ink, scratchboard and more • an exciting diversity of styles and techniques, presented in subject-themed chapters: portraits, landscapes, animals, still lifes and figures • practical artist-to-artist advice, insights and anecdotes you won’t find anywhere else

ABOUT THE EDITOR Rachel Rubin Wolf is a freelance editor and artist. She has edited and written many fine art books for North Light including Watercolor Secrets; the Splash: The Best of Watercolor series; the Strokes of Genius: Best of Drawing series; The Best of Wildlife Art (editions 1 and 2); The Best of Portrait Painting; Best of Flower Painting 2; The Acrylic Painter’s Book of Styles and Techniques; Painting Ships, Shores and the Sea; and Painting the Many Moods of Light. She also has acquired numerous fine art book projects for North Light Books and has contributed to magazines such as Fine Art Connoisseur and Wildlife Art.

T2367

Books on art theory put forth concepts like contrast, edges and perspective. Strokes of Genius brings those theories to life, showing how today’s artists put them to work. Each drawing is a unique, real-world lesson on how to manipulate value, light, shadows, details and more to evoke a feeling of depth and invite the viewer in.

US $37.00

(CAN $42.00)

WOLF

ISBN-13: 978-1-4403-3671-3 ISBN-10: 1-4403-3671-7

T2367_Strokes7_CM.indd 1

35313 66145

7

9

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53700

781440 336713

Edited by Rachel Rubin Wolf 8/3/15 9:48 AM