What Is The Best Object To Draw On C#

Visual artwork in two-dimensional medium

Cartoon is a form of visual art in which an artist uses instruments to mark newspaper or other two-dimensional surface. Cartoon 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 equally 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. At that place are many digital art programs and devices.

A drawing musical instrument releases a pocket-sized corporeality of material onto a surface, leaving a visible marking. The most common support for cartoon is paper, although other materials, such as cardboard, wood, plastic, leather, canvas, and board, have been used. Temporary drawings may exist made on a blackboard or whiteboard. Cartoon has been a popular and central means of public expression throughout human history. It is one of the simplest and most efficient ways of communicating ideas.^[1] The wide availability of drawing instruments makes drawing one of the nearly mutual artistic activities.

In addition to its more than artistic forms, drawing is frequently used in commercial illustration, animation, architecture, technology, and technical drawing. A quick, freehand cartoon, usually not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman, or draughtsman.^[2]

Overview [edit]

Cartoon is one of the oldest forms of man expression inside the visual arts. It is generally concerned with the mark of lines and areas of tone onto newspaper/other material, where the accurate representation of the visual world is expressed upon a plane surface.^[3] Traditional drawings were monochrome, or at least had footling colour,^[4] while mod colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, cartoon is singled-out from painting, fifty-fifty though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may exist used in pastel paintings. Drawing may exist done with a liquid medium, applied with brushes or pens. Similar supports also can serve both: painting by and large involves the application of liquid paint onto prepared sheet or panels, just sometimes an underdrawing is drawn first on that same support.

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

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

A quick, unrefined drawing may be called a sketch.

In fields exterior art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" fifty-fifty when they have been transferred to another medium by printing.

History [edit]

In communication [edit]

Drawing is one of the oldest forms of human being expression, with prove for its beingness preceding that of written communication.^[5] It is believed that drawing was used as a specialised class of communication before the invention of the written language,^[5] ^[6] demonstrated by the production of cavern and rock paintings around 30,000 years ago (Art of the Upper Paleolithic).^[vii] These drawings, known as pictograms, depicted objects and abstract concepts.^[eight] The sketches and paintings produced by Neolithic times were eventually stylised and simplified in to symbol systems (proto-writing) and somewhen into early writing systems.

In manuscripts [edit]

Before the widespread availability of paper, 12th-century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has likewise been used extensively in the field of science, as a method of discovery, agreement and explanation.

In scientific discipline [edit]

Drawing diagrams of observations is an of import role of scientific study.

In 1609, astronomer Galileo Galilei explained the changing 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]

Every bit creative expression [edit]

Drawing is used to limited one'due south inventiveness, and therefore has been prominent in the earth of fine art. Throughout much of history, drawing was regarded as the foundation for artistic practice.^[10] Initially, artists used and reused wooden tablets for the production of their drawings.^[xi] Post-obit the widespread availability of paper in the 14th century, the utilize of drawing in the arts increased. At this point, drawing was commonly used as a tool for idea and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.^[12] ^[xiii] The Renaissance brought nigh a corking sophistication in drawing techniques, enabling artists to stand for things more than realistically than earlier,^[fourteen] and revealing an interest in geometry and philosophy.^[15]

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

Notable artists and draftsmen [edit]

Drawing became meaning as an art grade effectually the late 15th century, with artists and master engravers such as Albrecht Dürer and Martin Schongauer (c. 1448-1491), the beginning Northern engraver known by name. Schongauer came from Alsace, and was born into a family of goldsmiths. Albrecht Dürer, a chief of the next generation, was too the son of a goldsmith.^[17] ^[18]

Former Master Drawings often reflect the history of the state in which they were produced, and the fundamental characteristics of a nation at that time. In 17th-century Holland, a Protestant land, in that location were almost no religious artworks, and, with no King or court, most art was bought privately. Drawings of landscapes or genre scenes were frequently viewed not as sketches but as highly finished works of art. Italian drawings, however, show the influence of Catholicism and the Church building, which played a major role in creative patronage. The same is ofttimes truthful of French drawings, although in the 17th century the disciplines of French Classicism^[xix] meant drawings were less Baroque than the more gratuitous Italian counterparts, which conveyed a greater sense of movement.^[20]

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

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

The centuries have produced a canon of notable artists and draftsmen, each with their own distinct language of drawing, including:

14th, 15th and 16th: Leonardo da Vinci^[24] • Albrecht Dürer • Hans Holbein the Younger • Michelangelo • Pisanello • Raphael
17th: Claude • Jacques de Gheyn Two • 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 • M. 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 past which ink, paint or colour are delivered onto the drawing surface. Near cartoon media are either dry out (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils tin can exist used dry like ordinary pencils, and then moistened with a wet brush to get various painterly furnishings. Very rarely, artists accept drawn with (normally decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.^[25] More rarely used are gilt, platinum, copper, contumely, bronze, and tinpoint.

Newspaper comes in a variety of different sizes and qualities, ranging from newspaper grade upwardly to high quality and relatively expensive paper sold as private sheets.^[26] Papers vary in texture, hue, acidity, and strength when moisture. Smooth paper is expert for rendering fine detail, merely a more than "toothy" newspaper holds the cartoon material amend. Thus a coarser material is useful for producing deeper contrast.

Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished cartoon, and to transfer a blueprint from one canvass to another. Cartridge paper is the basic blazon of cartoon paper sold in pads. Bristol board and even heavier acrid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smoothen and suitable for very fine detail. Coldpressed watercolor newspaper may exist favored for ink drawing due to its texture.

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

The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to foreclose pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and as well to mask an expanse to proceed it complimentary of adventitious marks, such as sprayed or spattered materials and washes. An easel or slanted tabular array is used to continue the drawing surface in a suitable position, which is mostly more than 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 draw with their mouth or feet.^[27]

Prior to working on an image, the artist typically explores how diverse media work. They may endeavor different drawing implements on practice sheets to determine value and texture, and how to use the implement to produce various effects.

The artist'southward choice of cartoon strokes affects the appearance of the prototype. Pen and ink drawings often use hatching – groups of parallel lines.^[28] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones – and decision-making the density of the breaks achieves a gradation of tone. Stippling uses dots to produce tone, texture and shade. Dissimilar textures tin be achieved depending on the method used to build tone.^[29]

Drawings in dry out media often use similar techniques, though pencils and drawing sticks tin achieve continuous variations in tone. Typically a drawing is filled in based on which manus the creative person favors. A right-handed artist draws from left to right to avert smearing the image. Erasers tin can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline cartoon, lines drawn often follow the contour of the field of study, creating depth by looking similar shadows cast from a light in the creative person's position.

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

Some other method to preserve a section of the epitome is to apply a spray-on fixative to the surface. This holds loose material more firmly to the canvas and prevents it from smearing. All the same the fixative spray typically uses chemicals that tin harm the respiratory system, and so information technology should be employed in a well-ventilated area such equally outdoors.

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

Tone [edit]

Shading is the technique of varying the tonal values on the paper to represent the shade of the material besides as the placement of the shadows. Careful attention to reflected low-cal, shadows and highlights can result in a very realistic rendition of the image.

Blending uses an implement to soften or spread the original cartoon strokes. Blending is most easily washed with a medium that does non immediately fix itself, such equally graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist tin use a blending stump, tissue, a kneaded eraser, a fingertip, or whatsoever combination of them. A piece of chamois is useful for creating polish textures, and for removing material to lighten the tone. Continuous tone tin be achieved with graphite on a smooth surface without blending, merely the technique is laborious, involving modest circular or oval strokes with a somewhat blunt point.

Shading techniques that besides introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the option of newspaper, drawing cloth and technique impact texture. Texture can be made to appear more realistic when it is fatigued next to a contrasting texture; a coarse texture is more than obvious when placed next to a smoothly blended surface area. A similar effect can be achieved past drawing dissimilar tones close together. A light border next to a night background stands out to the eye, and almost appears to float above the surface.

Course and proportion [edit]

Proportions of the human torso

Measuring the dimensions of a subject while blocking in the cartoon is an important step in producing a realistic rendition of the subject. Tools such equally a compass can exist used to measure the angles of different sides. These angles tin be reproduced on the drawing surface and so rechecked to brand sure they are accurate. Some other class of measurement is to compare the relative sizes of different parts of the bailiwick with each other. A finger placed at a indicate along the drawing implement can be used to compare that dimension with other parts of the paradigm. A ruler can be used both as a straightedge and a device to compute proportions.

Variation of proportion with age

When attempting to draw a complicated shape such equally a human being figure, it is helpful at commencement to represent the form with a set of primitive volumes. About any form tin exist represented past some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing tin can be refined into a more than accurate and polished class. The lines of the primitive volumes are removed and replaced past the final likeness. Drawing the underlying construction is a cardinal skill for representational art, and is taught in many books and schools. Its right application resolves most uncertainties virtually smaller details, and makes the last image look consequent.^[31]

A more refined art of figure drawing relies upon the creative person possessing a deep agreement of anatomy and the human proportions. A trained artist is familiar with the skeleton construction, articulation location, muscle placement, tendon movement, and how the different parts piece of work together during movement. This allows the artist to render more than natural poses that do non appear artificially potent. The creative person is also familiar with how the proportions vary depending on the age of the discipline, particularly when cartoon a portrait.

Perspective [edit]

Linear perspective is a method of portraying objects on a flat surface then that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a edifice or a tabular array, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere forth the horizon, every bit buildings are built level with the apartment 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 point.

When both the fronts and sides of a building are fatigued, then the parallel lines forming a side converge at a second point along the horizon (which may be off the cartoon paper.) This is a two-point perspective.^[32] Converging the vertical lines to a third point above or beneath the horizon then produces a three-indicate perspective.

Depth can likewise be portrayed by several techniques in addition to the perspective approach to a higher place. Objects of similar size should appear always smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front end wheel. Depth can exist portrayed through the use of texture. Equally the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different graphic symbol than if it was shut. Depth can as well be portrayed by reducing the contrast in more than distant objects, and by making their colors less saturated. This reproduces the issue of atmospheric haze, and cause the heart to focus primarily on objects drawn in the foreground.

Artistry [edit]

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

The illumination of the subject area is also a key element in creating an creative piece, and the interplay of calorie-free and shadow is a valuable method in the artist's toolbox. The placement of the calorie-free sources tin can make a considerable difference in the type of bulletin that is existence presented. Multiple light sources can wash out any wrinkles in a person'due south face up, for instance, and requite a more youthful advent. In contrast, a single light source, such as harsh daylight, tin can serve to highlight whatever texture or interesting features.

When drawing an object or figure, the skilled creative person pays attention to both the area within the silhouette and what lies exterior. The exterior is termed the negative space, and tin can be as important in the representation equally the figure. Objects placed in the background of the effigy should appear properly placed wherever they tin be viewed.

A study is a draft drawing that is made in preparation for a planned final epitome. Studies can be used to make up one's mind the appearances of specific parts of the completed prototype, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of conscientious work can go into completing a report.

Process [edit]

Individuals display differences in their ability to produce visually authentic drawings.^[33] A visually accurate drawing is described equally existence "recognized as a item object at a detail time and in a item space, rendered with little improver of visual detail that can non be seen in the object represented or with lilliputian deletion of visual item".^[34]

Investigative studies have aimed to explain the reasons why some individuals depict meliorate than others. I study posited iv cardinal abilities in the drawing procedure: motor skills required for mark-making, the drawer's own perception of their drawing, perception of objects being drawn, and the power to make good representational decisions.^[34] Following this hypothesis, several studies have sought to conclude which of these processes are nearly significant in affecting the accuracy of drawings.

Motor control

Motor control is an important physical component in the 'Production Phase' of the drawing procedure.^[35] It has been suggested that motor control plays a role in drawing ability, though its effects are non meaning.^[34]

Perception

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

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

Furthermore, the influential artist and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Drawing.^[38] He stated that "For I am most convinced, that once nosotros meet keenly enough, in that location is very little hard in drawing what we see".

Visual memory

This has also been shown to influence one'south ability to create visually authentic drawings. Short-term memory plays an important part in drawing as one'south gaze shifts between the object they are cartoon and the cartoon itself.^[39]

Decision-making

Some studies comparing artists to non-artists have establish that artists spend more time thinking strategically while cartoon. In particular, artists spend more time on 'metacognitive' activities such as considering dissimilar hypothetical plans for how they might progress with a drawing.^[40]

References [edit]

Notes

^ www.sbctc.edu (adapted). "Module 6: Media for 2-D Art" (PDF). Saylor.org. Retrieved ii April 2012.
^ "the definition of draftsman". Retrieved 1 January 2017.
^ "Archived copy" (PDF). Archived from the original (PDF) on 2016-03-03. Retrieved 2014-03-11 . {{cite spider web}}: CS1 maint: archived copy equally championship (link)
^ See grisaille and chiaroscuro
^ ^a ^b Tversky, B (2011). "Visualizing thought". Topics in Cognitive Science. iii (3): 499–535. doi:10.1111/j.1756-8765.2010.01113.x. PMID 25164401.
^ Farthing, S (2011). "The Bigger Picture of Drawing" (PDF). Archived from the original (PDF) on 2014-03-17. Retrieved 2014-03-eleven .
^ Thinking Through Drawing: Practice into Noesis Archived 2014-03-17 at the Wayback Machine 2011c^{[ page needed ]}
^ Robinson, A (2009). Writing and script: a very short introduction. New York: Oxford University Press.
^ ^a ^b ^c Kovats, T (2005). The Drawing Book. London: Black Dog Publishing.
^ Walker, J. F; Duff, L; Davies, J (2005). "Old Manuals and New Pencils". Drawing- The Procedure. Bristol: Intellect Books.
^ Encounter the discussion on erasable cartoon boards and 'tafeletten' in van de Wetering, Ernst. Rembrandt: The Painter at Work.
^ Burton, J. "Preface" (PDF). Archived from the original (PDF) on 2014-03-17. Retrieved 2014-03-xi .
^ Chamberlain, R (2013). Drawing Conclusions: An exploration of the cognitive and neuroscientific foundations of representational drawing (Doctoral).
^ Davis, P; Duff, 50; Davies, J (2005). "Cartoon a Bare". Cartoon – The Procedure . Bristol: Intellect Books. pp. xv–25. ISBN9781841500768.
^ Simmons, S (2011). "Philosophical Dimension of Drawing Education" (PDF). Archived from the original (PDF) on 2014-03-17. Retrieved 2014-03-11 .
^ Poe, E. A. (1840). The Daguerreotype. Archetype Essays on Photography. New Haven, CN: Leete'south Island Books. pp. 37–38.
^ "Old Master prints and engravings | Christie's". Retrieved 2018-04-20 .
^ Hinrich Sieveking, "High german Draughtsmanship in the Ages of Dürer and Goethe", British Museum. Accessed 20 February 2016
^ 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.
^ "Old Master drawings | Christie's". Retrieved 2018-04-20 .
^ Duff, L; Davies, J (2005). Drawing – The Process. Bristol: Intellect Books.
^ Gompertz, Will (2009-02-12). "My life in art: How Jean-Michel Basquiat taught me to forget about technique". the Guardian . Retrieved 2018-04-20 .
^ "smash for real: a dictionary of basquiat". I-d. 2017-09-26. Retrieved 2018-04-20 .
^ ArtCyclopedia, February 2003, "Masterful Leonardo and Graphic Dürer". Accessed xx February 2016
^ lara Broecke, Cennino Cennini's Il Libro dell'Arte: a new English language Translation and Commentary with Italian Transcription, Archetype 2015
^ Mayer, Ralph (1991). The Artist's Handbook of Materials and Techniques . Viking. ISBN978-0-670-83701-four.
^ "The Astonishing Art of Disabled Artists". Webdesigner Depot. 16 March 2010. Retrieved 1 January 2017.
^ This is unrelated to the hatching system in heraldry that indicates tincture (i.e., the color of artillery depicted in monochrome.)
^ Guptill, Arthur L. (1930). Drawing with Pen and Ink. New York: Reinhold Publishing Corporation.
^ South, Helen, The Everything Cartoon Book, Adams Media, Avon, MA, 2004, pp. 152–53, ISBN ane-59337-213-2
^ Hale, Robert Beverly (1964). Drawing Lessons from the Great Masters (45th Ceremony ed.). Watson-Guptill Publications (published 2009). ISBN978-0-8230-1401-9.
^ Watson, Ernest W. (1978). Class in Pencil Sketching: Four Books in Ane. New York: Van Nostrand Reinhold Company. pp. 167–75. ISBN978-0-442-29229-4.
^ Ostrofsky, J (2011). "A Multi-Stage Attention Hypothesis of Drawing Power" (PDF). Archived from the original (PDF) on 2014-03-17. Retrieved 2014-03-11 .
^ ^a ^b ^c ^d Cohen, D. J; Bennett, Due south. (1997). "Why can't most people draw what they see?". Periodical of Experimental Psychology. 67 (6): 609–21. doi:10.1037/0096-1523.23.3.609.
^ van Somers, P (1989). "A system for drawing and drawing-related neuropsychology". Cognitive Neuropsychology. 6 (2): 117–64. doi:x.1080/02643298908253416.
^ Cohen, D. J.; Jones, H. Eastward. (2008). "How shape constanct related to drawing accuracy" (PDF). Psychology of Aesthetics, Creativity, and the Arts. ii (1): viii–19. doi:10.1037/1931-3896.2.1.8.
^ Edwards, B (1989). Drawing on the Correct Side of the Brain. New York: Putnam. ISBN978-1-58542-920-two.
^ Ruskin, John (1857). The Elements of Drawing. Mineola, NY: Dover Publishcations Inc.
^ McManus, I. C.; Chamberlain, R. Due south.; Loo, P.-Grand.; Rankin, Q.; Riley, H.; Brunswick, N. (2010). "Art students who cannot draw: exploring the relations between drawing ability, visual retention, accuracy of copying, and dyslexia" (PDF). Psychology of Aesthetics, Creativity, and the Arts. iv: 18–xxx. CiteSeerX10.1.1.654.5263. doi:10.1037/a0017335. Archived from the original (PDF) on 2017-10-26. Retrieved 2017-10-25 .
^ Fayena-Tawil, F.; Kozbelt, A.; Sitaras, S. (2011). "Think global, act local: A protocol analysis comparing of artists' and nonartists' cognitions, metacognitions, and evaluations while drawing". Psychology of Aesthetics, Creativity, and the Arts. 5 (2): 135–45. doi:10.1037/a0021019.

Farther reading

Edwards, Betty. The New Drawing on the Right Side of the Brain, HarperCollins Publishers Ltd; 3Rev Ed edition, 2001, ISBN 978-0-00-711645-4
Brommer, Gerald F. Exploring Cartoon. Worcester, Massachusetts: Davis Publications. 1988.
Bodley Gallery, New York, Modernistic master drawings, 1971, OCLC 37498294.
Holcomb, M. (2009). Pen and Parchment : Drawing in the Center Ages . New York: The Metropolitan Museum of Fine art.
Hillberry, J.D. Drawing Realistic Textures in Pencil, North Low-cal Books, 1999, ISBN 0-89134-868-ix.
Landa, Robin. Take a line for a walk: A Creativity Journal. Boston: Wadsworth, 2011. ISBN 978-ane-111-83922-2
Lohan, Frank. Pen & Ink Techniques, Gimmicky Books, 1978, ISBN 0-8092-7438-eight.
Ruskin, J. (1857). The Elements of Drawing. Mineola, NY: Dover Publications Inc. ISBN 978-1-4538-4264-5
Spears, Heather. The Creative Eye. London: Arcturus. 2007. ISBN 978-0-572-03315-6.
World Volume, Inc. The World Book Encyclopedia Volume 5, 1988, ISBN 0-7166-0089-7.
Drawing/Thinking: Against an Electronic Age, edited by Marc Treib, 2008, ISBN 0-415-77560-4

External links [edit]

Wikimedia Commons has media related to Drawing.

Look up drawing in Wiktionary, the free dictionary.

Wikiversity has learning resources about Drawing

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