ON THE COVER 30 10 Strategies for Mastering Proportion 38886 Using Line + Pattern to Express Your Message 46 How to Draw Three-Dimensional Form 62 ‘The Winners! Our Self-Portrait Cover Contest Finalists 76 Mixing Materials: Ink and Encaustic 2 Drawing / Spring 2012 DEPARTMENTS epiton's NOTE CONTRIBUTORS 42 SKETCHBOOK 22 NEWAND NOTABLE COVER IMAGE Autoteatro No.2 (Homage to A. ‘AmenielsondG.Martinikersea) ‘details by Beatles Loge 2008. rahi veo atriston cowFEATURES e4 Choose YourOwn Adventure 8 MLBM ERP ERIC Aron Wiesenfeld’ figurative draw: ings and paintingsare rich with meaning and wonderfully ambign cus, inviting viewers tocreate their oven narratives and fecl a sense of kinship with the artist's young protagonists. 30 A Many-Sided Approach to the Figure BY AUSTIN US Dan Thompson advocates an artis: tic process that encompasses many strategies, in order to utilize and celebeate the complexity of learn: ing how to represent life through drawing. as By the Line By COBRENEY JoRBAN Canadian artist Kelly Wallace 4 Drawing / Spring 2012 depicts chaotic wreckage and debris in his graphite drawings created almost entirely with short, How to Find Form The challenge of produ convincing three-dimensional ferm on.a two-dimensional surface has fascinated—and at times confound ed—artists for thousands of years. Bowiare suamegies 0 beipere your figure drawings a powerful convincing sense of walume and depth. ez What's ina Face? ‘The winners of the Drawing Self Porteait Caver Campetition, 76 A Different Kind of Drawing a EEG In het mined media works, Meaga hein uses unpredictable materials texplore complex ideas centered around displacement and decay, a4 First Look: New Draw. by Alexey Steele se Filling inthe White Space a euRr¥cy Joeman Dense patterns and pen strokes distinguish Roz Leibowit2's pecu- liar drawings, allowing the artist explose subtly cubversive narratives hidden in not-so-plain sight, 96 Comingin. ‘ltl erereced oe pt ‘heart cameo recht oer eg schema apataed A oy Cada Ye and Ronen nC ie cnet ey Pye US Pree (ntuple Os sera ‘Pop Eats Agee sisrouny cowD Aversa Anzagt @ VOLUME 9 + ISSUE 33 EDITOR'S e's NOTE A Question of Space Fis artist, space isn't the last frontier; it's one of the fir things he or she must confront ‘when creating any work. This is particularly true for drawing. as representing three-dimensional space on a two-dimensional surface is one of the foremost challenges faced by all draftsmen. Whether you're aiming for lifelike figures or exptessionistic invented scenes, learning how to depict space just the way you want is crucial to the success of your drawings. The artists featured in this issue create artwork that runs the gamut from realistic figure studies to crowded, intense 4 paramount consideration (page jo). ‘Other artists manipulate space to achieve effects that eave strong pressions and help communicate the message and beatity of their ‘work. Ror Leibowits fills almost every inch of her paper with lines and patterns, which flattens space and gives her compositions additional strength through their claustrophobic intensity (page 86}. Meagan Shein takes the opposite approach, In her mixed media vignette drawings, she isolates scenes of deterioration by sur rounding them with negative space, hich encourages contemplation and conveys a sense of loss (page compositions bordering on abstrac- tion. Although their subjects and styles are entirely different, these artists are alike in their ability to manipulate space in order to achieve their desired effects. Dan Ghieno teaches us many ways to better depict form in figure draw- ings—in essence, how to manipulate space on the page to make it seem as though a person really exists on that flat surface. He explains many considerations that can help us meet this goal. including linework. form concepts, and planar changes (page 46). Dan Thompson also emphasizes tusing a range of strategies to draw the figure, and he shares his wisdem about how to create figure drawings filled with life. For him, too, achiev- 6G Drawing / Spring 2012 76). Kelly Wallace also uses space to ppreat effect in his drawings created exclusively with vertically drawn lines, which he uses todepict subjects ranging from dollar bills to large-scale scenes of destruction (page 38) There's no one way to approach the problem of drawn space. But however you confront this challenge, choose your method deliberately, execute it with atten tion todetail. and watch the truth of your drawings come forward. Lit? hitb AUSTIN A, WILLIAMS Associate Editor imaileertistDaily.corn ASPIRE MEDIA