How To Draw 25 Human Hands

Visual artwork in two-dimensional medium

Cartoon is a grade of visual art in which an creative person uses instruments to mark paper or other ii-dimensional surface. Drawing 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 every bit silverpoint). Digital drawing is the act of cartoon on graphics software in a computer. Mutual 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 cartoon instrument releases a small corporeality of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, wood, plastic, leather, canvas, and board, have been used. Temporary drawings may be fabricated on a blackboard or whiteboard. Drawing has been a popular and fundamental means of public expression throughout human history. Information technology is one of the simplest and well-nigh efficient means of communicating ideas.^[1] The wide availability of drawing instruments makes cartoon one of the most mutual artistic activities.

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

Overview [edit]

Drawing is one of the oldest forms of human being expression inside the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other textile, where the accurate representation of the visual earth is expressed upon a plane surface.^[3] Traditional drawings were monochrome, or at to the lowest degree had piddling colour,^[four] while modern colored-pencil drawings may approach or cantankerous a boundary betwixt drawing and painting. In Western terminology, drawing is singled-out from painting, even though like media often are employed in both tasks. Dry media, ordinarily associated with drawing, such every bit chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Like supports as well can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is fatigued first on that same support.

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

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

A quick, unrefined drawing may be called a sketch.

In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are ofttimes chosen "drawings" even when they have been transferred to another medium by press.

History [edit]

In communication [edit]

Drawing is i of the oldest forms of human expression, with evidence for its existence preceding that of written communication.^[5] It is believed that drawing was used equally a specialised form of communication earlier the invention of the written linguistic communication,^{[5] [6]} demonstrated by the product of cave and stone paintings effectually 30,000 years ago (Art of the Upper Paleolithic).^[7] These drawings, known every bit pictograms, depicted objects and abstract concepts.^[8] The sketches and paintings produced by Neolithic times were eventually stylised and simplified in to symbol systems (proto-writing) and eventually into early writing systems.

In manuscripts [edit]

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

In science [edit]

Cartoon diagrams of observations is an important part of scientific study.

In 1609, astronomer Galileo Galilei explained the irresolute phases of Venus and also the sunspots through his observational telescopic drawings.^[9] In 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.^[9]

As artistic expression [edit]

Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, cartoon was regarded as the foundation for creative practice.^[10] Initially, artists used and reused wooden tablets for the production of their drawings.^[eleven] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this betoken, drawing was commonly used equally a tool for thought and investigation, acting as a study medium whilst artists were preparing for their last pieces of work.^{[12] [13]} The Renaissance brought almost a great sophistication in drawing techniques, enabling artists to represent things more than realistically than earlier,^[fourteen] and revealing an involvement in geometry and philosophy.^[15]

The invention of the offset widely available grade of photography led to a shift in the hierarchy of the arts.^[16] Photography offered an culling to drawing equally a method for accurately representing visual phenomena, and traditional drawing exercise was given less emphasis every bit an essential skill for artists, peculiarly so in Western society.^[nine]

Notable artists and draftsmen [edit]

Drawing became significant as an art form around the belatedly 15th century, with artists and master engravers such as Albrecht Dürer and Martin Schongauer (c. 1448-1491), the starting time Northern engraver known by proper noun. Schongauer came from Alsace, and was born into a family unit of goldsmiths. Albrecht Dürer, a primary of the next generation, was also the son of a goldsmith.^{[17] [xviii]}

Old Main Drawings oft reflect the history of the land in which they were produced, and the key characteristics of a nation at that fourth dimension. In 17th-century Holland, a Protestant country, at that place were almost no religious artworks, and, with no King or courtroom, almost fine art was bought privately. Drawings of landscapes or genre scenes were oft viewed not as sketches but as highly finished works of art. Italian drawings, however, prove the influence of Catholicism and the Church, which played a major role in artistic patronage. The same is often true of French drawings, although in the 17th century the disciplines of French Classicism^[19] meant drawings were less Baroque than the more gratis Italian counterparts, which conveyed a greater sense of motion.^[twenty]

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

Basquiat'southward drawings were produced in many different mediums, most commonly ink, pencil, felt-tip or mark, and oil-stick, and he drew on whatever surface that came to hand, such every bit doors, vesture, refrigerators, walls and baseball helmets.^[23]

The centuries accept 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 II • 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, pigment or color are delivered onto the drawing surface. Most 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 can be used dry like ordinary pencils, and then moistened with a wet brush to become diverse painterly effects. Very rarely, artists accept drawn with (usually decoded) invisible ink. Metalpoint drawing ordinarily employs either of two metals: silverish or lead.^[25] More rarely used are gilt, platinum, copper, brass, bronze, and tinpoint.

Paper comes in a variety of different sizes and qualities, ranging from newspaper grade upwards to loftier quality and relatively expensive paper sold as private sheets.^[26] Papers vary in texture, hue, acerbity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the cartoon cloth better. Thus a coarser material is useful for producing deeper dissimilarity.

Newsprint and typing paper may be useful for practise and crude sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a pattern from 1 canvass to some other. Cartridge paper is the basic type of drawing newspaper sold in pads. Bristol board and even heavier acid-complimentary boards, frequently with smooth finishes, are used for drawing fine item and do non misconstrue when wet media (ink, washes) are practical. Vellum is extremely shine and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.

Acid-complimentary, archival quality paper keeps its colour and texture far longer than wood pulp based paper such as newsprint, which turns yellow and becomes brittle much sooner.

The basic tools are a drawing lath or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circumvolve compass, ruler, and gear up square. Fixative is used to forestall pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an expanse to keep it free of accidental marks, such as sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.

Technique [edit]

About all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their oral fissure or anxiety.^[27]

Prior to working on an image, the creative person typically explores how diverse media work. They may try dissimilar cartoon implements on do sheets to determine value and texture, and how to apply the implement to produce diverse effects.

The artist'due south choice of drawing strokes affects the appearance of the epitome. Pen and ink drawings often employ 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 controlling the density of the breaks achieves a gradation of tone. Stippling uses dots to produce tone, texture and shade. Dissimilar textures tin can be accomplished depending on the method used to build tone.^[29]

Drawings in dry media often use like techniques, though pencils and drawing sticks can reach continuous variations in tone. Typically a cartoon is filled in based on which manus the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers tin can remove unwanted lines, lighten tones, and make clean upwards devious marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.

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

Another method to preserve a section of the image is to use a spray-on fixative to the surface. This holds loose material more firmly to the sail and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory organization, then it 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 make the image.^[30]

Tone [edit]

Shading is the technique of varying the tonal values on the paper to represent the shade of the textile likewise as the placement of the shadows. Careful attention to reflected light, shadows and highlights can issue in a very realistic rendition of the image.

Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such equally graphite, chalk, or charcoal, although freshly practical ink can exist smudged, wet or dry, for some effects. For shading and blending, the artist can apply a blending stump, tissue, a kneaded eraser, a fingertip, or whatsoever combination of them. A piece of chamois is useful for creating smoothen textures, and for removing material to lighten the tone. Continuous tone can exist accomplished with graphite on a smooth surface without blending, just the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.

Shading techniques that likewise introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique touch on texture. Texture can be fabricated to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly composite area. A like event can be accomplished by drawing different tones close together. A low-cal edge next to a dark background stands out to the eye, and almost appears to float in a higher place the surface.

Class and proportion [edit]

Proportions of the homo torso

Measuring the dimensions of a bailiwick while blocking in the cartoon is an of import step in producing a realistic rendition of the subject. Tools such as a compass tin can be used to mensurate the angles of different sides. These angles tin can be reproduced on the drawing surface and then rechecked to make certain they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the cartoon implement can be used to compare that dimension with other parts of the image. 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 as a human being effigy, it is helpful at commencement to represent the form with a set of archaic volumes. Almost any class can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, and then the drawing tin be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced past the concluding likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties nigh smaller details, and makes the final prototype look consistent.^[31]

A more refined fine art of figure drawing relies upon the creative person possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, articulation location, muscle placement, tendon movement, and how the different parts work together during motility. This allows the artist to render more than natural poses that do not appear artificially potent. The artist is also familiar with how the proportions vary depending on the historic period of the subject, particularly when cartoon a portrait.

Perspective [edit]

Linear perspective is a method of portraying objects on a flat surface so that the dimensions compress with altitude. Each set of parallel, direct edges of any object, whether a edifice or a table, follows lines that eventually converge at a vanishing indicate. Typically this convergence bespeak is somewhere along the horizon, every bit buildings are congenital level with the flat 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 drawn, then the parallel lines forming a side converge at a second indicate along the horizon (which may be off the drawing newspaper.) This is a two-point perspective.^[32] Converging the vertical lines to a third point above or below the horizon then produces a iii-betoken perspective.

Depth can besides be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front bicycle. Depth can be 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 character than if information technology was close. Depth can also be portrayed by reducing the dissimilarity in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric brume, and cause the centre to focus primarily on objects fatigued in the foreground.

Artistry [edit]

The composition of the paradigm is an important element in producing an interesting piece of work of artistic merit. The creative person plans chemical element placement in the fine art to communicate ideas and feelings with the viewer. The composition tin can make up one's mind the focus of the art, and result in a harmonious whole that is aesthetically highly-seasoned and stimulating.

The illumination of the field of study is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist'due south toolbox. The placement of the light sources can make a considerable difference in the blazon of message that is beingness presented. Multiple calorie-free sources can wash out any wrinkles in a person'due south face, for instance, and requite a more youthful appearance. In contrast, a unmarried light source, such every bit harsh daylight, can serve to highlight whatsoever texture or interesting features.

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

A study is a draft drawing that is made in preparation for a planned concluding prototype. Studies can exist used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. Still a well-crafted study can be a slice of art in its own right, and many hours of careful work can go into completing a study.

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 particular object at a particular time and in a particular space, rendered with trivial addition of visual detail that tin can not exist seen in the object represented or with little deletion of visual detail".^[34]

Investigative studies take aimed to explicate the reasons why some individuals draw amend than others. One study posited four fundamental abilities in the drawing process: motor skills required for mark-making, the drawer'due south own perception of their drawing, perception of objects existence drawn, and the power to make skilful representational decisions.^[34] Following this hypothesis, several studies accept sought to conclude which of these processes are near pregnant in affecting the accuracy of drawings.

Motor command

Motor command is an important concrete component in the 'Production Phase' of the cartoon process.^[35] Information technology has been suggested that motor control plays a office in cartoon ability, though its effects are non significant.^[34]

Perception

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

This show acted as the ground of Betty Edwards' how-to-draw 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 nearly convinced, that one time we see keenly plenty, there is very little hard in cartoon what we see".

Visual memory

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

Decision-making

Some studies comparing artists to non-artists have found that artists spend more time thinking strategically while drawing. In item, artists spend more time on 'metacognitive' activities such every bit considering different hypothetical plans for how they might progress with a drawing.^[twoscore]

See as well [edit]

• University figure
• Architectural drawing
• Limerick
• Contour drawing
• Diagram
• Digital illustration
• Engineering drawing
• Effigy cartoon
• Graphic design
• Illustration
• Landscape painting
• Painting
• Plumbago cartoon
• Sketch (drawing)
• Subtractive drawing
• Technical drawing
• Visual arts
• Image

References [edit]

Notes

1. ^ world wide web.sbctc.edu (adapted). "Module 6: Media for 2-D Art" (PDF). Saylor.org. Retrieved 2 April 2012.
2. ^ "the definition of draftsman". Retrieved one January 2017.
3. ^ "Archived copy" (PDF). Archived from the original (PDF) on 2016-03-03. Retrieved 2014-03-11 . {{cite web}}: CS1 maint: archived copy equally championship (link)
4. ^ Come across grisaille and chiaroscuro
5. ^ ^{a b} Tversky, B (2011). "Visualizing thought". Topics in Cognitive Scientific discipline. 3 (3): 499–535. doi:ten.1111/j.1756-8765.2010.01113.x. PMID 25164401.
6. ^ Farthing, S (2011). "The Bigger Moving-picture show of Cartoon" (PDF). Archived from the original (PDF) on 2014-03-17. Retrieved 2014-03-11 .
7. ^ Thinking Through Drawing: Do into Knowledge Archived 2014-03-17 at the Wayback Automobile 2011c^{[ page needed ]}
8. ^ Robinson, A (2009). Writing and script: a very brusque introduction. New York: Oxford University Printing.
9. ^ ^{a b c} Kovats, T (2005). The Drawing Book. London: Black Domestic dog Publishing.
10. ^ Walker, J. F; Duff, L; Davies, J (2005). "Former Manuals and New Pencils". Drawing- The Process. Bristol: Intellect Books.
11. ^ See the word on erasable drawing boards and 'tafeletten' in van de Wetering, Ernst. Rembrandt: The Painter at Work.
12. ^ Burton, J. "Preface" (PDF). Archived from the original (PDF) on 2014-03-17. Retrieved 2014-03-11 .
13. ^ Chamberlain, R (2013). Cartoon Conclusions: An exploration of the cerebral and neuroscientific foundations of representational drawing (Doctoral).
14. ^ Davis, P; Duff, 50; Davies, J (2005). "Drawing a Blank". Drawing – The Process . Bristol: Intellect Books. pp. 15–25. ISBN9781841500768.
15. ^ Simmons, South (2011). "Philosophical Dimension of Cartoon Educational activity" (PDF). Archived from the original (PDF) on 2014-03-17. Retrieved 2014-03-eleven .
16. ^ Poe, E. A. (1840). The Daguerreotype. Classic Essays on Photography. New Oasis, CN: Leete's Isle Books. pp. 37–38.
17. ^ "Old Master prints and engravings | Christie'southward". Retrieved 2018-04-20 .
18. ^ Hinrich Sieveking, "German Draughtsmanship in the Ages of Dürer and Goethe", British Museum. Accessed twenty February 2016
19. ^ Barbara Hryszko, A Painter as a Draughtsman. Typology and Terminology of Drawings in Academic Didactics and Creative Do in France in 17th Century [dans:] Metodologia, metoda i terminologia grafiki i rysunku. Teoria i praktyka, ed. Jolanta Talbierska, Warszawa 2014, pp. 169-176.
20. ^ "One-time Principal drawings | Christie'southward". Retrieved 2018-04-20 .
21. ^ Duff, 50; Davies, J (2005). Drawing – The Procedure. Bristol: Intellect Books.
22. ^ 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 .
23. ^ "boom for real: a lexicon of basquiat". I-d. 2017-09-26. Retrieved 2018-04-xx .
24. ^ ArtCyclopedia, Feb 2003, "Masterful Leonardo and Graphic Dürer". Accessed 20 February 2016
25. ^ lara Broecke, Cennino Cennini'south Il Libro dell'Arte: a new English Translation and Commentary with Italian Transcription, Archetype 2015
26. ^ Mayer, Ralph (1991). The Creative person's Handbook of Materials and Techniques . Viking. ISBN978-0-670-83701-4.
27. ^ "The Amazing Fine art of Disabled Artists". Webdesigner Depot. 16 March 2010. Retrieved one January 2017.
28. ^ This is unrelated to the hatching system in heraldry that indicates tincture (i.e., the color of arms depicted in monochrome.)
29. ^ Guptill, Arthur L. (1930). Cartoon with Pen and Ink. New York: Reinhold Publishing Corporation.
30. ^ South, Helen, The Everything Cartoon Book, Adams Media, Avon, MA, 2004, pp. 152–53, ISBN 1-59337-213-2
31. ^ Hale, Robert Beverly (1964). Cartoon Lessons from the Nifty Masters (45th Anniversary ed.). Watson-Guptill Publications (published 2009). ISBN978-0-8230-1401-9.
32. ^ Watson, Ernest W. (1978). Class in Pencil Sketching: 4 Books in One. New York: Van Nostrand Reinhold Company. pp. 167–75. ISBN978-0-442-29229-four.
33. ^ Ostrofsky, J (2011). "A Multi-Stage Attending Hypothesis of Drawing Ability" (PDF). Archived from the original (PDF) on 2014-03-17. Retrieved 2014-03-11 .
34. ^ ^{a b c d} Cohen, D. J; Bennett, S. (1997). "Why can't most people describe what they meet?". Journal of Experimental Psychology. 67 (6): 609–21. doi:10.1037/0096-1523.23.3.609.
35. ^ van Somers, P (1989). "A system for drawing and drawing-related neuropsychology". Cognitive Neuropsychology. 6 (two): 117–64. doi:10.1080/02643298908253416.
36. ^ Cohen, D. J.; Jones, H. E. (2008). "How shape constanct related to drawing accuracy" (PDF). Psychology of Aesthetics, Creativity, and the Arts. two (1): 8–xix. doi:ten.1037/1931-3896.2.1.viii.
37. ^ Edwards, B (1989). Drawing on the Correct Side of the Brain. New York: Putnam. ISBN978-1-58542-920-2.
38. ^ Ruskin, John (1857). The Elements of Drawing. Mineola, NY: Dover Publishcations Inc.
39. ^ McManus, I. C.; Chamberlain, R. S.; Loo, P.-K.; Rankin, Q.; Riley, H.; Brunswick, Due north. (2010). "Fine art students who cannot depict: exploring the relations between drawing ability, visual retention, accuracy of copying, and dyslexia" (PDF). Psychology of Aesthetics, Creativity, and the Arts. 4: 18–30. CiteSeerX10.ane.1.654.5263. doi:10.1037/a0017335. Archived from the original (PDF) on 2017-10-26. Retrieved 2017-10-25 .
40. ^ Fayena-Tawil, F.; Kozbelt, A.; Sitaras, S. (2011). "Retrieve global, deed local: A protocol analysis comparing of artists' and nonartists' cognitions, metacognitions, and evaluations while drawing". Psychology of Aesthetics, Inventiveness, and the Arts. 5 (2): 135–45. doi:10.1037/a0021019.

Farther reading

• Edwards, Betty. The New Drawing on the Right Side of the Encephalon, HarperCollins Publishers Ltd; 3Rev Ed edition, 2001, ISBN 978-0-00-711645-iv
• Brommer, Gerald F. Exploring Cartoon. Worcester, Massachusetts: Davis Publications. 1988.
• Bodley Gallery, New York, Mod master drawings, 1971, OCLC 37498294.
• Holcomb, M. (2009). Pen and Parchment : Drawing in the Middle Ages . New York: The Metropolitan Museum of Art.
• Hillberry, J.D. Cartoon Realistic Textures in Pencil, North Calorie-free Books, 1999, ISBN 0-89134-868-9.
• Landa, Robin. Have a line for a walk: A Creativity Journal. Boston: Wadsworth, 2011. ISBN 978-1-111-83922-two
• Lohan, Frank. Pen & Ink Techniques, Contemporary Books, 1978, ISBN 0-8092-7438-viii.
• Ruskin, J. (1857). The Elements of Drawing. Mineola, NY: Dover Publications Inc. ISBN 978-one-4538-4264-5
• Spears, Heather. The Creative Eye. London: Arcturus. 2007. ISBN 978-0-572-03315-half-dozen.
• World Volume, Inc. The World Book Encyclopedia Book v, 1988, ISBN 0-7166-0089-7.
• Cartoon/Thinking: Confronting an Electronic Historic period, edited by Marc Treib, 2008, ISBN 0-415-77560-4

External links [edit]

Wikimedia Commons has media related to Cartoon.

Look upwards drawing in Wiktionary, the gratuitous dictionary.

Wikiversity has learning resources about Drawing

• Timeline of Cartoon Development in Children
• On Drawing, an essay virtually the arts and crafts of cartoon, by artist Norman Nason. Archived from the original on April 25, 2012.
• Line and Grade (1900) by Walter Crane at Project Gutenberg
• Leonardo da Vinci: anatomical drawings from the Royal Library, Windsor Castle, exhibition itemize fully online as PDF from The Metropolitan Museum of Fine art (a great drawing resources).
• Leonardo da Vinci, Master Draftsman, exhibition itemize fully online as PDF from The Metropolitan Museum of Art (a great cartoon resource).
• Drawing in the Middle Ages A summary of how drawing was used as part of the artistic process in the Eye Ages.

Source: https://en.wikipedia.org/wiki/Drawing

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