Drawing is a form of visual art in which an artist uses instruments to mark paper or other two-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 as silverpoint). Digital drawing is the act of using a computer to draw. 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. There are many digital art programs and devices. A drawing instrument releases a small amount 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 made on a blackboard or whiteboard. Drawing has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating ideas. The wide availability of drawing instruments makes drawing one of the most common artistic activities. Notable artists and draftsmen Drawing became significant as an art form around the late 15th century, with artists and master engravers such as Albrecht Dürer and Martin Schongauer (c. 1448-1491), the first Northern engraver known by name. Schongauer came from Alsace , and was born into a family of goldsmiths. Albrecht Dürer, a master of the next generation, was also the son of a goldsmith.Hinrich Sieveking, "German Draughtsmanship in the Ages of Dürer and Goethe", British Museum. Accessed 20 February 2016 Old Master Drawings often reflect the history of the country in which they were produced , and the fundamental characteristics of a nation at that time. In 17th-century Holland, a Protestant country, there were almost no religious artworks, and, with no King or court, most art was bought privately. Drawings of landscapes or genre scenes were often viewed not as sketches but as highly finished works of art. Italian drawings, however, show 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 ClassicismBarbara Hryszko, A Painter as a Draughtsman. Typology and Terminology of Drawings in Academic Didactics 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. meant drawings were less Baroque than the more free Italian counterparts, which conveyed a greater sense of movement. Basquiat's drawings were produced in many different mediums, most commonly 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. Materials The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (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, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.lara Broecke, Cennino Cennini's Il Libro dell'Arte: a new English Translation and Commentary with Italian Transcription, Archetype 2015 More rarely used are gold, platinum, copper, brass, bronze, and tinpoint. Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to  high quality and relatively expensive paper sold as individual sheets. Papers vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. 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 drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-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 smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture. Acid-free, archival quality paper keeps its color 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 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 prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area 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. Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects. The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching – groups of parallel lines.This is unrelated to the hatching system in heraldry that indicates tincture (i.e., the color of arms depicted in monochrome.) 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. Different textures can be achieved depending on the method used to build tone. Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors . A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray 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. Tone A pencil portrait by Henry Macbeth-Raeburn, with hatching and shading (1909) Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to  reflected light, shadows and highlights can result in a very realistic rendition of the image. Shading techniques that also 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 affect  texture. Texture can be made 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 blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface. When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final 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 about smaller details , and makes the final image look consistent. A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait. Depth can also 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 wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground. When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as  the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed. 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. He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see".
Drawing is a form of visual art in which an artist uses instruments to mark paper or other two-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 as silverpoint). Digital drawing is the act of using a computer to draw. 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. There is much digital art programs and devices. A drawing instrument releases a small amount 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 made on a blackboard or whiteboard. Drawing has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating ideas. The wide availability of drawing instruments makes drawing one of the most common artistic activities. Notable artists and draftsmen Drawing became significant as an art form around the late 15th century, with artists and master engravers such as Albrecht Dürer and Martin Schongauer (c. 1448-1491), the first Northern engraver known by name. Schongauer came from Alsace and was born into a family of goldsmiths. Albrecht Dürer, a master of the next generation, was also the son of a goldsmith.Hinrich Sieveking, "German Draughtsmanship in the Ages of Dürer and Goethe", British Museum. Accessed 20 February 2016 Old Master Drawings often reflect the history of the country in which they were produced and the fundamental characteristics of a nation at that time. In 17th-century Holland, a Protestant country, there were almost no religious artworks, and, with no King or court, most arts was bought privately. Drawings of landscapes or genre scenes were often viewed not as sketches but as highly finished works of art. Italian drawings, however, show 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 ClassicismBarbara Hryszko, A Painter as a Draughtsman. Typology and Terminology of Drawings in Academic Didactics 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. meant drawings were less Baroque than the more free Italian counterparts, which conveyed a greater sense of movement. Basquiat's drawings were produced in many different mediums, most commonly ink, pencil, felt-tip or marker, and oil-stick, and he drew on any surface that came to hands , such as doors, clothing, refrigerators, walls and baseball helmets. Materials The medium is the means by which ink, pigment or colour are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolour pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.lara Broecke, Cennino Cennini's Il Libro dell'Arte: a new English Translation and Commentary with Italian Transcription, Archetype 2015 More rarely used are gold, platinum, copper, brass, bronze, and tinpoint. Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to the high quality and relatively expensive paper sold as individual sheets. Papers vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. 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 drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-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 smooth and suitable for very fine detail. Coldpressed watercolour paper may be favoured for ink drawing due to its texture. Acid-free, 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 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 prevent pencil and crayon marks from smudging. Drafting tape is used to secure the paper to the drawing surface, and also to mask an area 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. Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practise sheets to determine value and texture, and how to apply the implement to produce various effects. The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching – groups of parallel lines.This is unrelated to the hatching system in heraldry that indicates tincture (i.e., the colour of arms depicted in monochrome.) 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. Different textures can be achieved depending on the method used to build tone. Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favours . A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray 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. Tone A pencil portrait by Henry Macbeth-Raeburn, with hatching and shading (1909) Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to the reflected light, shadows and highlights can result in a very realistic rendition of the image. Shading techniques that also 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 affect the texture. Texture can be made 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 blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface. When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final 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 about smaller details and makes the final image look consistent. A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait. Depth can also 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 wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colours less saturated. This reproduces the effect of atmospheric haze, and causes the eye to focus primarily on objects drawn in the foreground. When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as to the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed. Furthermore, the influential artist and art critic John Ruskin emphasized the importance of perception in the drawing process in his book The Elements of Drawing. He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficulty in drawing what we see".
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