Strokes of Genius 4: The Best Drawing: Exploring Line

Strokes of Genius 4: The Best Drawing: Exploring Line

Rachel Rubin Wolf

Language: English

Pages: 65

ISBN: 2:00254889

Format: PDF / Kindle (mobi) / ePub

Art, inspiration and insights from 100+ modern-day masters!

Line is arguably the most fundamental and direct element in art, and also the most expressive--as personal as handwriting. Strokes of Genius 4 explores the artistic linework of more than 100 contemporary masters. These artists tell the stories of their varied subjects through strong verticals and sweeping diagonals, quick staccatos and loose, sensuous strokes. Captions share insights on how they use line to lead the eye, create movement, reveal character, and add depth, drama and texture.

Inside you'll find:

Art and inspiration from more than 100 of today's best artists

140 masterful pieces in charcoal, pencil, pastel, pen and more

Diverse subject matter: portraits, landscapes, still life, figures and animals

Styles ranging from minimalism to photorealism

From quick sketches to full rendered artwork, Strokes of Genius 4 offers fresh ideas and unique perspectives to fuel artists in any medium.

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lace was not as challenging as I thought it would be because I simply focused on the dark shapes within the intricate pattern. Eventually it all came together, and I used dark gray pencils over the lace for shading. The line has been used as the first form of expression and communication since prehistoric people began drawing on cave walls. –GILBERT M. ROCHA OF UNCOMMON ORIGIN (TRIPTYCH) | GILBERT M. ROCHA Charcoal, graphite and carbon pencil on paper 25¾″ × 20¾″ each (65cm × 53cm) I was

which create a sense of movement and mystery. As the drawing nears completion I use a kneaded eraser and pull out some of the highlights. ELIZABETH | YUNSUNG JANG Charcoal pencil on paper 48″ × 28″ (122cm × 71cm) Elizabeth is a charcoal drawing completed for a class project. It would have been ideal to have worked from life, but photo reference was ultimately used for practical reasons. First, I lightly draw in the construction lines and carefully measure the proportions. I pay attention to

compressed, 12, 20, 46, 116–117, 120 medium vine, 106 powdered, 116–117 soft vine, 12, 27, 99 willow, 13,20 Conté, 10–11, 23, 27, 89, 103, 116–117, 122–123, 127 Contour drawing, 12, 28, 41, 60 Contrast, 13, 18, 31, 60, 118, 132 Correction fluid, 118 Crayons, 86, 98 Crosshatching, 8, 24, 31, 57–58, 76, 89, 93, 103 Digital pen tool, 22 Edges, 11, 72, 82, 95, 106, 111, 118 Erasers, 11, 16, 23, 58, 82, 95, 103, 106, 111 Eyedropper, 90, 118 Gesso, 103 Gesture drawing, 84, 96, 99, 107,

salvation –STUART GIVOT A SEA FIGHT | STUART GIVOT Graphite on paper 4″ × 7″ (10cm × 18cm) After purchasing a couple of Koh-I-Noor 5616 2mm lead holders (of which I have plenty but I am physically unable to walk out of an art supply store without buying something) and another three tubes of Staedtler HB, 2H and 2B carbon leads (I now have enough to draw a line twice around the world), I, of course, had to test the items. I chose this scene because I’m comfortable with marine subjects. I use

well to my female dolls who all sported blue eyes, blond hair and hourglass figures. Here, I re-create a typical scene of my youth where some unfortunate accident would happen to these lovelies. AIR & WATER | TERI L. HIATT Graphite on watercolor paper 17″ × 14″ (43cm × 36cm) I drew this from a photograph of a junk shop in the old gold-mining town of Idaho City. I was fascinated by the way all these old everyday objects that were once valued now sit together as rusty reminders of the past. I

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