Watercolor Pencil Art 2 Architectural Freehand One Point Perspective Drawing

Visual artwork in 2-dimensional medium

Drawing is a class of visual fine art in which an artist uses instruments to mark paper or other two-dimensional surface. Drawing instruments include graphite pencils, pen and ink, various kinds of paints, inked brushes, colored pencils, crayons, charcoal, chalk, pastels, erasers, markers, styluses, and metals (such every bit silverpoint). Digital drawing is the act of cartoon on graphics software in a computer. Common methods of digital drawing include a stylus or finger on a touchscreen device, stylus- or finger-to-touchpad, or in some cases, a mouse. There are many digital art programs and devices.

A drawing instrument releases a modest corporeality of textile onto a surface, leaving a visible marker. The well-nigh mutual back up for cartoon is paper, although other materials, such as cardboard, woods, plastic, leather, canvas, and lath, have been used. Temporary drawings may be made on a blackboard or whiteboard. Drawing has been a popular and key means of public expression throughout human history. It is one of the simplest and most efficient ways of communicating ideas.^[1] The broad availability of drawing instruments makes cartoon i of the most common creative activities.

In improver to its more creative forms, drawing is often used in commercial illustration, blitheness, architecture, engineering, and technical cartoon. A quick, freehand drawing, usually not intended as a finished work, is sometimes called a sketch. An creative person who practices or works in technical drawing may be chosen a drafter, draftsman, or draughtsman.^[two]

Overview [edit]

Drawing is one of the oldest forms of human expression inside the visual arts. Information technology is generally concerned with the marker of lines and areas of tone onto paper/other fabric, where the accurate representation of the visual earth is expressed upon a plane surface.^[three] Traditional drawings were monochrome, or at to the lowest degree had trivial color,^[four] while modern colored-pencil drawings may approach or cross a purlieus between cartoon and painting. In Western terminology, drawing is distinct from painting, fifty-fifty though like media ofttimes are employed in both tasks. Dry media, normally associated with cartoon, such as chalk, may exist used in pastel paintings. Drawing may be done with a liquid medium, practical with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is fatigued first on that same support.

Drawing is oftentimes exploratory, with considerable emphasis on ascertainment, problem-solving and limerick. Drawing is likewise regularly used in preparation for a painting, farther obfuscating their distinction. Drawings created for these purposes are called studies.

There are several categories of drawing, including effigy drawing, cartooning, doodling, and freehand. There are besides many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of newspaper, and lines are then made between the dots), and tracing (drawing on a translucent newspaper, such as tracing paper, around the outline of preexisting shapes that show through the paper).

A quick, unrefined drawing may be called a sketch.

In fields outside art, technical drawings or plans of buildings, mechanism, circuitry and other things are often chosen "drawings" even when they have been transferred to another medium past printing.

History [edit]

In communication [edit]

Drawing is one of the oldest forms of human being expression, with testify for its existence preceding that of written communication.^[5] Information technology is believed that drawing was used as a specialised course of advice before the invention of the written language,^{[5] [half-dozen]} demonstrated by the production of cave and rock paintings effectually 30,000 years agone (Art of the Upper Paleolithic).^[7] These drawings, known as pictograms, depicted objects and abstract concepts.^[8] The sketches and paintings produced by Neolithic times were eventually stylised and simplified in to symbol systems (proto-writing) and eventually into early writing systems.

In manuscripts [edit]

Before the widespread availability of paper, twelfth-century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of scientific discipline, every bit a method of discovery, understanding and explanation.

In science [edit]

Drawing diagrams of observations is an important part of scientific written report.

In 1609, astronomer Galileo Galilei explained the irresolute phases of Venus and also the sunspots through his observational scope drawings.^[9] In 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.^[9]

As artistic expression [edit]

Drawing is used to express one'due south creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practice.^[10] Initially, artists used and reused wooden tablets for the product of their drawings.^[11] Post-obit the widespread availability of paper in the 14th century, the utilise of drawing in the arts increased. At this signal, drawing was commonly used as a tool for thought and investigation, interim as a study medium whilst artists were preparing for their final pieces of work.^{[12] [thirteen]} The Renaissance brought about a great sophistication in cartoon techniques, enabling artists to represent things more realistically than before,^[fourteen] and revealing an interest in geometry and philosophy.^[xv]

The invention of the first widely bachelor form of photography led to a shift in the hierarchy of the arts.^[16] Photography offered an alternative to cartoon as a method for accurately representing visual phenomena, and traditional drawing do was given less emphasis as an essential skill for artists, particularly so in Western society.^[9]

Notable artists and draftsmen [edit]

Cartoon became significant as an art form around the belatedly 15th century, with artists and master engravers such every bit Albrecht Dürer and Martin Schongauer (c. 1448-1491), the first Northern engraver known by name. Schongauer came from Alsace, and was built-in into a family unit of goldsmiths. Albrecht Dürer, a master of the next generation, was as well the son of a goldsmith.^{[17] [18]}

Old Main Drawings often reflect the history of the country in which they were produced, and the central characteristics of a nation at that time. In 17th-century Holland, a Protestant country, at that place were almost no religious artworks, and, with no King or court, about fine art was bought privately. Drawings of landscapes or genre scenes were often viewed non every bit sketches but as highly finished works of fine art. Italian drawings, even so, show the influence of Catholicism and the Church, which played a major part in artistic patronage. The same is often truthful of French drawings, although in the 17th century the disciplines of French Classicism^[nineteen] meant drawings were less Baroque than the more costless Italian counterparts, which conveyed a greater sense of move.^[20]

In the 20th century Modernism encouraged "imaginative originality"^[21] and some artists' approach to drawing became less literal, more abstract. World-renowned artists such as Pablo Picasso, Andy Warhol and Jean-Michel Basquiat helped claiming the status quo, with drawing being very much at the eye of their exercise, and often re-interpreting traditional technique.^[22]

Basquiat's drawings were produced in many different mediums, nearly commonly ink, pencil, felt-tip or marker, and oil-stick, and he drew on any surface that came to manus, such as doors, vesture, refrigerators, walls and baseball game helmets.^[23]

The centuries have produced a canon of notable artists and draftsmen, each with their own singled-out language of cartoon, including:

• 14th, 15th and 16th: Leonardo da Vinci^[24] • Albrecht Dürer • Hans Holbein the Younger • Michelangelo • Pisanello • Raphael
• 17th: Claude • Jacques de Gheyn II • Guercino • Nicolas Poussin • Rembrandt • Peter Paul Rubens • Pieter Saenredam
• 18th: François Boucher • Jean-Honoré Fragonard • Giovanni Battista Tiepolo • Antoine Watteau
• 19th: Aubrey Beardsley • Paul Cézanne • Jacques-Louis David • Honoré Daumier • Edgar Degas • Théodore Géricault • Francisco Goya • Jean-Auguste-Dominique Ingres • Pierre-Paul Prud'hon • Odilon Redon • John Ruskin • Georges Seurat • Henri de Toulouse-Lautrec • Vincent van Gogh
• 20th: Max Beckmann • Jean Dubuffet • Thou. C. Escher • Arshile Gorky • George Grosz • Paul Klee • Oscar Kokoschka • Käthe Kollwitz • Alfred Kubin • André Masson • Alphonse Mucha • Jules Pascin • Pablo Picasso • Egon Schiele • Jean-Michel Basquiat • Andy Warhol

Materials [edit]

The medium is the means by which ink, pigment or colour are delivered onto the cartoon surface. About cartoon media are either dry out (eastward.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry similar ordinary pencils, and so moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint cartoon usually employs either of two metals: silver or lead.^[25] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.

Paper comes in a multifariousness of unlike sizes and qualities, ranging from newspaper grade upwardly to high quality and relatively expensive newspaper sold every bit individual sheets.^[26] Papers vary in texture, hue, acidity, and strength when wet. Polish paper is good for rendering fine particular, but a more "toothy" paper holds the cartoon cloth meliorate. Thus a coarser material is useful for producing deeper contrast.

Newsprint and typing paper may be useful for practice and crude sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a blueprint from i sheet to another. Cartridge paper is the basic type of cartoon paper sold in pads. Bristol board and even heavier acid-free boards, oft with shine finishes, are used for drawing fine particular and do not misconstrue when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine item. Coldpressed watercolor paper may be favored for ink cartoon due to its texture.

Acrid-complimentary, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and becomes breakable much sooner.

The basic tools are a drawing board or tabular array, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circumvolve compass, ruler, and set square. Fixative is used to preclude pencil and crayon marks from smudging. Drafting tape is used to secure newspaper to drawing surface, and also to mask an surface area to keep it complimentary of accidental marks, such as sprayed or spattered materials and washes. An easel or slanted table is used to proceed the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.

Technique [edit]

Nearly all draftsmen use their easily and fingers to apply the media, with the exception of some handicapped individuals who describe with their oral cavity or feet.^[27]

Prior to working on an image, the creative person typically explores how diverse media piece of work. They may endeavour different drawing implements on practice sheets to determine value and texture, and how to employ the implement to produce diverse furnishings.

The creative person's choice of drawing strokes affects the advent of the image. Pen and ink drawings ofttimes utilize hatching – groups of parallel lines.^[28] Cross-hatching uses hatching in two or more than unlike directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones – and controlling the density of the breaks achieves a gradation of tone. Stippling uses dots to produce tone, texture and shade. Different textures tin can be achieved depending on the method used to build tone.^[29]

Drawings in dry media often employ similar techniques, though pencils and cartoon sticks tin can attain continuous variations in tone. Typically a drawing is filled in based on which mitt the creative person favors. A right-handed artist draws from left to correct to avert smearing the epitome. Erasers can remove unwanted lines, lighten tones, and clean up devious marks. In a sketch or outline cartoon, lines drawn oft follow the profile of the subject, creating depth by looking like shadows bandage from a calorie-free in the artist's position.

Sometimes the artist leaves a department of the prototype untouched while filling in the remainder. The shape of the area to preserve tin be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.

Another method to preserve a section of the prototype is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can damage the respiratory organization, so it should be employed in a well-ventilated area such as outdoors.

Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to brand the epitome.^[30]

Tone [edit]

Shading is the technique of varying the tonal values on the paper to represent the shade of the textile likewise as the placement of the shadows. Careful attention to reflected light, shadows and highlights tin result in a very realistic rendition of the image.

Blending uses an implement to soften or spread the original drawing strokes. Blending is near easily done with a medium that does not immediately gear up itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the creative person can utilize a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A slice of chamois is useful for creating smoothen textures, and for removing cloth to lighten the tone. Continuous tone can be achieved with graphite on a smoothen surface without blending, just the technique is laborious, involving modest round or oval strokes with a somewhat blunt point.

Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the pick of newspaper, drawing textile and technique affect texture. Texture can be made to appear more than realistic when information technology is drawn next to a contrasting texture; a fibroid texture is more obvious when placed next to a smoothly blended expanse. A similar outcome can be accomplished by cartoon unlike tones close together. A light edge next to a nighttime background stands out to the middle, and almost appears to bladder above the surface.

Course and proportion [edit]

Proportions of the human trunk

Measuring the dimensions of a subject while blocking in the drawing is an important footstep in producing a realistic rendition of the bailiwick. Tools such equally a compass can be used to measure out the angles of different sides. These angles can be reproduced on the drawing surface and and then rechecked to make certain they are accurate. Another form of measurement is to compare the relative sizes of dissimilar parts of the subject field with each other. A finger placed at a bespeak along the cartoon implement can be used to compare that dimension with other parts of the prototype. A ruler tin can exist used both every bit a straightedge and a device to compute proportions.

Variation of proportion with age

When attempting to depict a complicated shape such every bit a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any class can be represented by some combination of the cube, sphere, cylinder, and cone. In one case these basic volumes have been assembled into a likeness, then the drawing tin can be refined into a more accurate and polished grade. The lines of the archaic volumes are removed and replaced by the terminal likeness. Cartoon the underlying structure is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image await consequent.^[31]

A more refined art of effigy drawing relies upon the artist possessing a deep agreement of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon motion, and how the different parts work together during motion. This allows the artist to render more natural poses that practise non appear artificially stiff. The artist is too familiar with how the proportions vary depending on the age of the field of study, particularly when drawing a portrait.

Perspective [edit]

Linear perspective is a method of portraying objects on a apartment surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a edifice or a table, follows lines that eventually converge at a vanishing point. Typically this convergence indicate is somewhere forth the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing indicate.

When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a 2nd betoken forth the horizon (which may be off the cartoon paper.) This is a two-point perspective.^[32] Converging the vertical lines to a third point in a higher place or below the horizon then produces a iii-point perspective.

Depth can too be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back bike of a cart appears slightly smaller than the front cycle. Depth tin be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the outcome of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.

Artistry [edit]

The composition of the image is an of import element in producing an interesting work of artistic merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The composition can determine the focus of the fine art, and result in a harmonious whole that is aesthetically highly-seasoned and stimulating.

The illumination of the discipline is as well a primal element in creating an artistic slice, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person'south face, for instance, and give a more than youthful advent. In contrast, a single low-cal source, such every bit harsh daylight, can serve to highlight any texture or interesting features.

When drawing an object or figure, the skilled artist pays attention to both the expanse inside the silhouette and what lies outside. The exterior is termed the negative space, and tin be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they tin be viewed.

A report is a draft cartoon that is made in preparation for a planned concluding image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a slice of art in its ain right, and many hours of careful work can become into completing a study.

Process [edit]

Individuals brandish differences in their power to produce visually authentic drawings.^[33] A visually accurate drawing is described as being "recognized as a item object at a item fourth dimension and in a detail space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail".^[34]

Investigative studies have aimed to explicate the reasons why some individuals draw improve than others. One report posited four key abilities in the cartoon process: motor skills required for mark-making, the drawer's own perception of their drawing, perception of objects being drawn, and the ability to make good representational decisions.^[34] Following this hypothesis, several studies have sought to conclude which of these processes are most pregnant in affecting the accurateness of drawings.

Motor control

Motor control is an important physical component in the 'Production Phase' of the drawing process.^[35] It has been suggested that motor control plays a role in drawing ability, though its effects are not significant.^[34]

Perception

It has been suggested that an private's ability to perceive an object they are drawing is the most important phase in the drawing process.^[34] This proposition is supported by the discovery of a robust relationship between perception and drawing ability.^[36]

This show acted as the basis of Betty Edwards' how-to-draw book, Drawing on the Right Side of the Brain.^[37] Edwards aimed to teach her readers how to draw, based on the development of the reader'south perceptual abilities.

Furthermore, the influential artist and fine art critic John Ruskin emphasised the importance of perception in the drawing procedure in his book The Elements of Drawing.^[38] He stated that "For I am nearly convinced, that once we run across keenly enough, there is very little difficult in drawing what we see".

Visual retentiveness

This has as well been shown to influence one'south ability to create visually accurate drawings. Short-term retention plays an of import part in drawing every bit one'south gaze shifts between the object they are drawing and the cartoon itself.^[39]

Decision-making

Some studies comparing artists to non-artists have found that artists spend more time thinking strategically while drawing. In particular, artists spend more time on 'metacognitive' activities such as considering unlike hypothetical plans for how they might progress with a drawing.^[forty]

See too [edit]

• Academy effigy
• Architectural drawing
• Composition
• Contour drawing
• Diagram
• Digital illustration
• Technology drawing
• Effigy drawing
• Graphic design
• Illustration
• Landscape painting
• Painting
• Plumbago cartoon
• Sketch (drawing)
• Subtractive drawing
• Technical cartoon
• Visual arts
• Image

References [edit]

Notes

1. ^ world wide web.sbctc.edu (adapted). "Module 6: Media for 2-D Art" (PDF). Saylor.org. Retrieved two April 2012.
2. ^ "the definition of draftsman". Retrieved i January 2017.
3. ^ "Archived copy" (PDF). Archived from the original (PDF) on 2016-03-03. Retrieved 2014-03-xi . {{cite web}}: CS1 maint: archived re-create as title (link)
4. ^ See grisaille and chiaroscuro
5. ^ ^{a b} Tversky, B (2011). "Visualizing idea". Topics in Cognitive Science. 3 (3): 499–535. doi:10.1111/j.1756-8765.2010.01113.ten. PMID 25164401.
6. ^ Farthing, S (2011). "The Bigger Picture of Drawing" (PDF). Archived from the original (PDF) on 2014-03-17. Retrieved 2014-03-11 .
7. ^ Thinking Through Drawing: Exercise into Noesis Archived 2014-03-17 at the Wayback Machine 2011c^{[ page needed ]}
8. ^ Robinson, A (2009). Writing and script: a very short introduction. New York: Oxford University Printing.
9. ^ ^{a b c} Kovats, T (2005). The Drawing Book. London: Black Dog Publishing.
10. ^ Walker, J. F; Duff, Fifty; Davies, J (2005). "Erstwhile Manuals and New Pencils". Drawing- The Procedure. Bristol: Intellect Books.
11. ^ See the word on erasable drawing boards and 'tafeletten' in van de Wetering, Ernst. Rembrandt: The Painter at Piece of work.
12. ^ Burton, J. "Preface" (PDF). Archived from the original (PDF) on 2014-03-17. Retrieved 2014-03-11 .
13. ^ Chamberlain, R (2013). Cartoon Conclusions: An exploration of the cognitive and neuroscientific foundations of representational drawing (Doctoral).
14. ^ Davis, P; Duff, Fifty; Davies, J (2005). "Drawing a Blank". Drawing – The Process . Bristol: Intellect Books. pp. 15–25. ISBN9781841500768.
15. ^ Simmons, S (2011). "Philosophical Dimension of Drawing Educational activity" (PDF). Archived from the original (PDF) on 2014-03-17. Retrieved 2014-03-eleven .
16. ^ Poe, Due east. A. (1840). The Daguerreotype. Archetype Essays on Photography. New Haven, CN: Leete's Island Books. pp. 37–38.
17. ^ "Old Master prints and engravings | Christie'southward". Retrieved 2018-04-20 .
18. ^ Hinrich Sieveking, "German language Draughtsmanship in the Ages of Dürer and Goethe", British Museum. Accessed xx February 2016
19. ^ Barbara Hryszko, A Painter as a Draughtsman. Typology and Terminology of Drawings in Bookish Education and Artistic Practice in France in 17th Century [dans:] Metodologia, metoda i terminologia grafiki i rysunku. Teoria i praktyka, ed. Jolanta Talbierska, Warszawa 2014, pp. 169-176.
20. ^ "Sometime Master drawings | Christie's". Retrieved 2018-04-xx .
21. ^ Duff, L; Davies, J (2005). Cartoon – The Process. Bristol: Intellect Books.
22. ^ Gompertz, Volition (2009-02-12). "My life in art: How Jean-Michel Basquiat taught me to forget about technique". the Guardian . Retrieved 2018-04-twenty .
23. ^ "boom for real: a dictionary of basquiat". I-d. 2017-09-26. Retrieved 2018-04-20 .
24. ^ ArtCyclopedia, Feb 2003, "Masterful Leonardo and Graphic Dürer". Accessed 20 February 2016
25. ^ lara Broecke, Cennino Cennini'south Il Libro dell'Arte: a new English Translation and Commentary with Italian Transcription, Classic 2015
26. ^ Mayer, Ralph (1991). The Artist's Handbook of Materials and Techniques . Viking. ISBN978-0-670-83701-iv.
27. ^ "The Amazing Art of Disabled Artists". Webdesigner Depot. 16 March 2010. Retrieved 1 January 2017.
28. ^ This is unrelated to the hatching system in heraldry that indicates tincture (i.e., the colour of artillery depicted in monochrome.)
29. ^ Guptill, Arthur L. (1930). Cartoon with Pen and Ink. New York: Reinhold Publishing Corporation.
30. ^ S, Helen, The Everything Drawing Book, Adams Media, Avon, MA, 2004, pp. 152–53, ISBN one-59337-213-two
31. ^ Hale, Robert Beverly (1964). Drawing Lessons from the Great Masters (45th Anniversary ed.). Watson-Guptill Publications (published 2009). ISBN978-0-8230-1401-9.
32. ^ Watson, Ernest W. (1978). Grade in Pencil Sketching: Four Books in Ane. New York: Van Nostrand Reinhold Company. pp. 167–75. ISBN978-0-442-29229-4.
33. ^ Ostrofsky, J (2011). "A Multi-Stage Attention Hypothesis of Drawing Ability" (PDF). Archived from the original (PDF) on 2014-03-17. Retrieved 2014-03-11 .
34. ^ ^{a b c d} Cohen, D. J; Bennett, Due south. (1997). "Why can't about people draw what they see?". Periodical of Experimental Psychology. 67 (6): 609–21. doi:10.1037/0096-1523.23.3.609.
35. ^ van Somers, P (1989). "A system for drawing and drawing-related neuropsychology". Cognitive Neuropsychology. 6 (two): 117–64. doi:10.1080/02643298908253416.
36. ^ Cohen, D. J.; Jones, H. E. (2008). "How shape constanct related to cartoon accuracy" (PDF). Psychology of Aesthetics, Creativity, and the Arts. 2 (one): eight–19. doi:x.1037/1931-3896.ii.1.8.
37. ^ Edwards, B (1989). Drawing on the Right Side of the Brain. New York: Putnam. ISBN978-1-58542-920-2.
38. ^ Ruskin, John (1857). The Elements of Drawing. Mineola, NY: Dover Publishcations Inc.
39. ^ McManus, I. C.; Chamberlain, R. S.; Loo, P.-K.; Rankin, Q.; Riley, H.; Brunswick, N. (2010). "Art students who cannot draw: exploring the relations between drawing power, visual retentiveness, accuracy of copying, and dyslexia" (PDF). Psychology of Aesthetics, Creativity, and the Arts. four: 18–thirty. CiteSeerX10.ane.1.654.5263. doi:x.1037/a0017335. Archived from the original (PDF) on 2017-10-26. Retrieved 2017-10-25 .
40. ^ Fayena-Tawil, F.; Kozbelt, A.; Sitaras, Southward. (2011). "Think global, deed local: A protocol analysis comparison of artists' and nonartists' cognitions, metacognitions, and evaluations while drawing". Psychology of Aesthetics, Creativity, and the Arts. 5 (two): 135–45. doi:10.1037/a0021019.

Further reading

• Edwards, Betty. The New Cartoon on the Right Side of the Brain, HarperCollins Publishers Ltd; 3Rev Ed edition, 2001, ISBN 978-0-00-711645-iv
• Brommer, Gerald F. Exploring Drawing. Worcester, Massachusetts: Davis Publications. 1988.
• Bodley Gallery, New York, Modern primary drawings, 1971, OCLC 37498294.
• Holcomb, Grand. (2009). Pen and Parchment : Cartoon in the Middle Ages . New York: The Metropolitan Museum of Art.
• Hillberry, J.D. Drawing Realistic Textures in Pencil, Due north Low-cal Books, 1999, ISBN 0-89134-868-9.
• Landa, Robin. Take a line for a walk: A Inventiveness Journal. Boston: Wadsworth, 2011. ISBN 978-one-111-83922-2
• Lohan, Frank. Pen & Ink Techniques, Contemporary Books, 1978, ISBN 0-8092-7438-8.
• Ruskin, J. (1857). The Elements of Cartoon. Mineola, NY: Dover Publications Inc. ISBN 978-1-4538-4264-5
• Spears, Heather. The Creative Heart. London: Arcturus. 2007. ISBN 978-0-572-03315-six.
• Earth Volume, Inc. The World Book Encyclopedia Volume 5, 1988, ISBN 0-7166-0089-vii.
• Drawing/Thinking: Confronting an Electronic Age, edited by Marc Treib, 2008, ISBN 0-415-77560-four

External links [edit]

Wikimedia Commons has media related to Drawing.

Look up cartoon in Wiktionary, the free dictionary.

Wikiversity has learning resources virtually Drawing

• Timeline of Drawing Development in Children
• On Drawing, an essay about the craft of cartoon, by artist Norman Nason. Archived from the original on April 25, 2012.
• Line and Class (1900) by Walter Crane at Project Gutenberg
• Leonardo da Vinci: anatomical drawings from the Majestic Library, Windsor Castle, exhibition catalog fully online equally PDF from The Metropolitan Museum of Art (a bang-up drawing resources).
• Leonardo da Vinci, Principal Draftsman, exhibition catalog fully online as PDF from The Metropolitan Museum of Fine art (a great drawing resource).
• Drawing in the Middle Ages A summary of how drawing was used as part of the artistic process in the Middle Ages.

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Source: https://en.wikipedia.org/wiki/Drawing

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