Strokes of Genius 4 - The Best of Drawing: Exploring Line

144 Pages·2012·18.61 MB·English

by  Rachel Rubin Wolf

strokes of genius 4
THE BEST OF DRAWING | EXPLORING LINE
edited by RACHEL RUBIN WOLF
LONDON | PAUL G. MELIA
Rapidograph pen and watercolor on white print paper
11½″ × 15″ (29cm × 38cm)
This drawing was done in my studio from a composite of some of the hundreds
of photographs I took during two earlier trips to Europe. I’m a sucker for old,
interesting buildings and architecture, the stuff of which London is made—a
fascinating city. Everywhere you turn there is inspiration for a sketch, a drawing
or a painting. You simply have to be there to see and experience it all—the
gold-tipped Parliament buildings; the changing of the guard at Buckingham
Palace; statues, royalty and antiquity everywhere—there’s nothing like it. Time
involved was about 4 to 6 hours.
CONTENTS
INTRODUCTION
1
PORTRAITS
2
‘SCAPES
3
STILL LIFE
4
FIGURES
5
ANIMALS
CONTRIBUTORS
INDEX
Structural lines need no apology. Show how you found your way, what you
thought, and how you changed your mind as you shaped your artwork—allow
your viewer in.
–JOANNE BEAULE RUGGLES
GRIEF | JOANNE BEAULE RUGGLES
India ink on paper
20″ × 15″ (51cm × 38cm)
INTRODUCTION
In this fourth volume of Strokes of Genius: The Best of Drawing we explore line
and our artists’ thoughts about line. When most people think about drawing,
they think of line. The way one makes a line is as personal and identifiable as
handwriting. Think of the lines of van Gogh, Rembrandt, Cézanne and Albrecht
Dürer to name a few.
I asked our artists to give us a personal quote about line (though it was
optional), and I was truly fascinated by the wisdom and thoughtfulness that
came forth. (Who says visual artists aren’t writers?!) Line can be tentative or
confident, sensuous or rugged, chaotic, orderly, soothing or violent. The choice
of medium affects the quality of line, but not as much as the artist’s choice of
how to hold and use the medium, and apply tone to the paper. Drawing, though
technically two-dimensional, holds many other dimensions for the artists in this
book.
Julie L. Jilek compared drawing to sculpting a three-dimensional form. She
says, “I explore line much like a sculptor, working my way around the form
boldly at first, then slowing down ....”
Joe L. Mac Kechnie hears music in line. He says, “Gestural lines are like the
strings of an expensive violin. We respond to their exquisite music when it
comes from the heart of the artist.”
For Joanne Beaule Ruggles drawing feels like a risky but exciting activity: “It
is risk that draws me in, so I choose to walk the tightrope with my ink and pens.”
For Bets Cole drawing communicates, perhaps tells a story. She says, “Line is
an artist’s adjective, adverb and noun.”
Different types of lines tell the viewer different things. “A loose line always
conveys more information,” says Charles Jos Biviano. Holly Siniscal thinks that
“stylized line creates texture.” “My favorite kinds of lines are the ones that
whisper ...” says Ellen Erenberg.
I want to leave you with two exhortations from our artists—advice I would do
well to heed myself. Our longtime friend Judi Betts, who has about as much fun
with her art as anyone I know, chides us, “Artists should doodle more and
Google less!” And finally Jerome C. Goettsch reminds us to: “Be an observer
and draw something every day.”
Good advice for any artist!
Rachel Rubin Wolf
1
PORTRAITS
GALEN | TANJA GANT
Colored pencil on smooth bristol board
12½″ × 24″ (32cm × 61cm)
I work primarily from photographs that already have the right mood, lines and
perspective defined. In Galen, I used Prismacolor colored pencils working from
light to dark, dividing the background into two unequal parts to add drama. After
making a detailed sketch I applied color in short crosshatching strokes, all the
while making sure I captured the right expression of the subject. It’s all about
the attitude!
LADY IN WAITING | STAR GALLER
Charcoal on paper
20″ × 16″ (51cm × 41cm)
I love self-portraits. They record how I feel at different stages in my life.
Dressing up is a part of my world; I collect costumes and my makeup collection
takes up a whole cabinet. At the time I drew this, I felt like the key I needed to
break out of my current situation was beyond my reach.