Strokes of Genius: The Best of Drawing

Strokes of Genius: The Best of Drawing

Rachel Rubin Wolf

Language: English

Pages: 59

ISBN: B005LH3XA6

Format: PDF / Kindle (mobi) / ePub


Awe-inspiring works by contemporary masters, along with the secrets behind its creation.
Drawing is the most intimate and immediate form of self-expression, fundamental to every artist's ability to communicate with a viewer. The sense of energy and expression that can be captured in mere strokes of charcoal, ink, pastel, marker or any of the other modest mediums proudly represented in this book is astounding.

A glowing celebration of the art of drawing, Strokes of Genius features styles ranging from meticulous realism to imaginative flights of fancy, from lyrical sketches created in minutes to intricately layered renderings that took months to complete.

Includes:
169 stand-out examples of the finest drawing being done today, selected from hundreds of submissions from around the world.
An impressive range of styles, materials and techniques covering a wide array of subjects, including still life, the figure, animals, landscapes, portraits and more.
Comments from the artists offer firsthand insight on the creation of each artwork, diverse perspectives on drawing, and fresh ideas and techniques.
An incomparable source of inspiration and delight for artists and art lovers, Strokes of Genius contains hundreds of combined years of expertise, artistic breakthroughs and, above all, remarkable drawings that leave a lasting impression.

Draw 50 Monsters: The Step-by-Step Way to Draw Creeps, Superheroes, Demons, Dragons, Nerds, Ghouls, Giants, Vampires, Zombies, and Other Scary Creatures

101 Things I Learned in Architecture School

The Working Drawing: The Architect's Tool

建筑钢笔画教程 (Pen Architectural Painting Tutorial)

20 Ways to Draw a Dress and 44 Other Fabulous Fashions and Accessories: A Sketchbook for Artists, Designers, and Doodlers

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

When combining charcoal, Conté and sometimes pastel, the shadows, highlights and halftones go on directly. Because of this inherent speed, one can capture live models more easily. The result is a drawing that has a real sense of finish without losing the appealing look of a sketch. 83 Z0271 5 ChapterFive.indd 83 2/13/07 10:56:39 AM MOOSE Edward DuRose . Scratchboard . 12" × 15" (30cm × 38cm) Strong Contrast With Scratchboard Working from photos, I use a white clay-coated board, sketching

ChapterFive.indd 94 2/13/07 11:00:00 AM MERRYGOROUND, HORNBILLS Dino Paravano . Graphite . 14" × 18" (36cm × 46cm) GROOMING TIME IS OVER Dino Paravano . Graphite . 8" × 11" (20cm × 28cm) 95 Z0271 5 ChapterFive.indd 95 2/13/07 11:00:01 AM ADOPTION DOGS Donna M. Krizek . Charcoal . 12" × 16" (30cm × 41cm) Listen to Your Subject I work from life, whether indoors or out. My subjects show me how they are to be portrayed—what is natural or typical and what is unique. This helps in two

the store were done with Chinese white watercolor applied over the graphite. THE LITTLE STORE James Toogood . Graphite with Chinese white watercolor . 20" × 30" (51cm × 76cm) 103 Z0271 6 ChapterSix.indd 103 2/13/07 11:05:32 AM An Array of Pen Techniques This drawing is based on a photograph I took. I started by mapping out the location of the basic elements very lightly in pencil. I then came in with a Rapidograph technical pen and roughly sketched the basic tree and shrub shapes, horizon

variety of line weights, depending on the pressure applied and the tip used. This pen is my favorite sketch tool. Due to the difficulty of keeping graphite from smudging, I have almost completely stopped using pencil. The Palo Duro, in Amarillo, Texas, is called the “Little Grand Canyon.” Rust in Peace was also done with an IDenti-pen, but this pen was almost dry. A drier pen gives an almost “dry-brush” effect. Last Day in Dieulefit was completed in my Provence sketchbook, using a Pilot V-Ball

ChapterThree.indd 55 2/13/07 10:30:16 AM No Rubbing Compound Working from a photograph, I used a grid to ensure proper placement of the subject in 51 on 31. I like to build my drawings in layers, using softer degree pencils from 5H to 9B. Drawing in layers makes pencil-only blending easier, so I can avoid using fingers, stumps or other tools to blend. I used a flat watercolor brush to blend the shadow on the hood of the car. Most of my drawings are from photographs, mainly because of time. It

Download sample

Download