drawing essay about

Essay on Drawing

500 words essay on drawing.

Drawing is a simplistic art whose concern is with making marks. Furthermore, drawing is a way of communicating or expressing a particular feeling of an artist. Let us focus on this unique form of art with this essay on drawing.

                                                                                                              Essay On Drawing

Significance of Drawing                                    

Drawing by itself is an art that gives peace and pleasure. Furthermore, learning the art of drawing can lead to efficiency in other mediums.  Also, having an accurate drawing is the basis of a realistic painting.

Drawing has the power to make people more expressive. It is well known that the expression of some people can’t always take place by the use of words and actions only. Therefore, drawing can serve as an important form of communication for people.

It is possible to gain insight into the thoughts and feelings of people through their drawings. Moreover, this can happen by examining the colour pattern, design, style, and theme of the drawing. One good advantage of being able to express through drawing is the boosting of one’s emotional intelligence .

Drawing enhances the motor skills of people. In fact, when children get used to drawing, their motor skills can improve from a young age. Moreover, drawing improves the hand and eye coordination of people along with fine-tuning of the finger muscles.

Drawing is a great way for people to let their imaginations run wild. This is because when people draw, they tend to access their imagination from the depths of their mind and put it on paper. With continuous drawing, people’s imagination would become more active as they create things on paper that they find in their surroundings.

How to Improve Drawing Skills

One of the best ways to improve drawing skills is to draw something every day. Furthermore, one must not feel pressure to make this drawing a masterpiece. The main idea here is to draw whatever comes to mind.

For drawing on a regular basis, one can make use of repetitive patterns, interlocking circles , doodles or anything that keeps the pencil moving. Therefore, it is important that one must avoid something complex or challenging to start.

Printing of a picture one desires to draw, along with its tracing numerous times, is another good way of improving drawing skills. Moreover, this helps in the building of muscle memory for curves and angles on the subject one would like to draw. In this way, one would be able to quickly improve drawing skills.

One must focus on drawing shapes, instead of outlines, at the beginning of a drawing. For example, in the case of drawing a dog, one must first focus on the head by creating an oval. Afterwards, one can go on adding details and connecting shapes.

Get the huge list of more than 500 Essay Topics and Ideas

Conclusion of the Essay on Drawing

Drawing is an art that has the power of bringing joy to the soul. Furthermore, drawing is a way of representing one’s imagination on a piece of paper. Also, it is a way of manipulating lines and colours to express one’s thoughts.

FAQs For Essay on Drawing

Question 1: Explain the importance of drawing?

Answer 1: Drawing plays a big role in our cognitive development. Furthermore, it facilitates people in improving hand-eye coordination, analytic skills, creative thinking, and conceptualising ideas. As such, drawing must be used as a tool for learning in schools.

Question 2: What are the attributes that drawing can develop in a person?

Answer 2: The attributes that drawing can develop in a person are collaboration, non-verbal communication, creativity, focus-orientation, perseverance, and confidence.

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My Hobby Drawing – Essay on My Hobby Drawing in English for Students

May 23, 2020 by Leya Leave a Comment

Table of Contents

My Hobby Drawing – Essay 1

When I was 5 years old, I loved to play with colors. I always used to use my elder sister’s pencil colors. Since then, my love for drawing and painting has increased. Everyone has some kind of habit and hobbies, and in my opinion, everyone should have hobbies. There are lots of benefits of hobbies. It gives freedom to express. It gives wings to the creator. It can be a stress bursting.

Essay on my Hobby : My favourite hobby drawing

As I mentioned above, my hobby of drawing started when I was 5. At first, I was just using colors to paint. I used just to draw some random pictures. I used to draw something every day. That is how I developed my drawing skills. I used to take part in various competitions. I was very interested in taking part in multiple events. I won lots of medals, trophies, and certificates by taking participate in these kinds of competitions and events. Apart from that, when I improved my skill, I started painting for others. I used to draw for my friends, cousins, and family members. I used to participate in school events. I was popular among my friends in my school days. Everyone wanted to make drawing for them. It gave me more motivation to do something new and to upgrade my skill.

Why do I love drawing?

I love drawing because it gave me respect. It made me popular among my friends. One of the major reasons why I love drawing because it gives me wings to fly. I can draw anything which is in my mind. I can express my thoughts through drawing. I draw various things. I draw for a social cause. I draw about the current situation. I love drawing because I can speak through my drawing and painting without uttering a word. I love drawing because this hobby is my favorite timepass. I draw in every mood. It helps me put my emotions on the canvas. Whenever I feel low or sad, I just put my sketchbook out from the cupboard and start drawing anything, whatever in my mind. People call it freestyle painting, it means without any purpose. After that, I feel very satisfied.

Benefits of Drawing

There is no particular benefit of drawing. But if we talk, there are many. There are several benefits of drawing, which I will be mentioning below.

It develops fine motor skills. Any specialized movement of hand, wrist, and fingers are included in fine motor skills. As an adult, you rely more on these fine motor skills whenever you type, write, drive, or even when you text on mobile. Holding and manipulating writing implements represent one of the best ways to improve fine motor skills. The drawing creates immediate visual feedback. That depends on what kind of writing instrument the child is holding.

It encourages visual analysis. Children don’t understand the concepts that you take for granted. Such as distance, size, color, or textural differences. Drawing offers the perfect opportunity for your child to learn these concepts. It helps children to get knowledge about fundamental visuals. To support this fundamental visual, give small projects to your children on an everyday basis. Which will help them get the difference between near and far, fat and thin, big and small, etc.?

It helps establish concentration. Most children enjoy drawing. this activity provides time to establish concentration. It helps children to concentrate. It helps children to practice drawing and eventually, it helps children to concentrate. It helps children observe small details.

It helps improves hand-eye concentration. In addition to improving fine motor skills, drawing enables your child to understand the connection between what they see and what they do. This hand-eye coordination is important in athletic and academic scenarios such as penmanship lessons, as well as in recreational situations. For a hand-eye coordination boost, have your child draw an object while looking at it or copy a drawing that you made.

It increases individual confidence. As a parent or guardian, you probably love to hear what your child has made new today. He or she gains confidence. When your child has an opportunity to create physical representations of his or her imagination, thoughts, and experiences. Drawing can help your child feel more intrinsic motivation and validity. This will make him or her more confident in other areas that may not come as naturally as drawing.

It teaches creative problem-solving. Drawing encourages your child to solve problems creatively, Along with visual analysis and concentration. When they draw, your child must determine the best way to connect body parts, portray emotions, and depict specific textures. Always Provide specific drawing tasks, such as creating a family portrait, and talk about your child’s color, method, or special choices that can help him or her develop stronger problem-solving skills over time.

Drawing events

As I mentioned, I loved taking part in the competition. When competing in the event, I used to meet many more talented people. It motivated me.  I have lots of painter friends now. Whenever I get stuck in the painting, they help me. When I used to participate, I won lots of medals and trophies. It motivated me a lot, too. Several drawing and painting events are happening every day across the world. I used to take part in most of the interschool and state-level competition. I used to take part in online events, too. It helped me know what kind of talents are there in the world.

My future in drawing

I will try to continue my drawing skills in the future also. I am learning more skills related to painting. I am currently focusing on graphic designing and doodling. The world is moving towards digitalization. That is the reason I am trying my hands there too. There is many things to learn from now. I am looking forward to doing that. Moreover, I am very excited.

In the end, I want to add that everyone should have one hobby. It helps a lot in daily life. It helps to build your social image.

My Hobby Drawing – Essay 2

Drawing is something I enjoy doing in my free time and it is my favourite hobby. Although I love to dance and sing, drawing has a special place in my heart.

When I was in kindergarten, my teacher drew a rose on the blackboard using a few simple shapes. I was surprised that it is so easy to create a rose on paper. I tried drawing it in my book and was really very happy when the little triangles I drew started resembling the flower. That was when I started enjoying drawing.

I understood that all complex images can be drawn by breaking them down into simple shapes. I used to follow instructions from children’s magazines on how you can improve your drawing. Recently, my sister has introduced me to YouTube drawing tutorials. Through these videos, I have learnt to draw beautiful Disney princesses and different types of fruits.

Colour Pencils, Crayons, and Oil Pastels

I was taught to use crayons and pencil colours during art classes in school. Later, I started using oil pastels, as these colours are much brighter than the others. Oil pastels add a special colour pop to the painting and these are easy to use, like crayons. There are several artists in the world who specialise in painting with oil pastels. These works of art also look like oil paintings.

The Motivation to Draw

I feel very happy when I complete a painting and my friends admire my work. My teacher has told me that I am very good at colouring. She has also encouraged me to participate in several drawing competitions as a representative of the school. So I take great pleasure in saying that my hobby is drawing.

One of my biggest sources of inspiration is my mother, who draws like a professional artist! She uses watercolours in most of her paintings. I have recently started using watercolours and I feel it is a lot of fun working with this medium.

The beauty of the colours blending into each other cannot be easily expressed in words. I have used watercolours to paint sunsets and to make abstract paintings. I prefer to use the colours in the tube, rather than the watercolour cakes.

Drawing Events

There are several drawing events that people follow these days. Inktober is an annual event where an artist creates one ink drawing each day for the whole month of October. The drawings will be based on prompts that are decided before the event. Artists display their work on social media and other forums for comments and criticisms.

I am looking forward to participating in Inktober this year. It will be fun to see the different drawings that people come up with for the same prompt.

My Future in Drawing

I intend to continue learning new drawing techniques like mandala art, doodling, and oil painting. There is so much to learn out there, and I am excited to try them all! My mother has promised me that she would enrol me into some painting classes where I can improve my skills in my hobby, drawing. I understand that practise is crucial here, and I should try to draw at least one illustration per day to improve my work.

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Essay on Drawing Hobby

Students are often asked to write an essay on Drawing Hobby in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Drawing Hobby

What is a drawing hobby.

A drawing hobby means making pictures with pencils, pens, or crayons. It’s like playing on paper. You can draw anything: animals, cars, or your dreams. It’s fun and you can do it anywhere.

Benefits of Drawing

Drawing is good for you. It helps you to be creative and relax. When you draw often, you get better at it. It also makes you feel happy and proud when you finish a picture.

Materials for Drawing

You need simple things: paper, pencils, and colors. You can use markers or paint too. Keep your tools in one place so you can find them easily.

Sharing Your Drawings

Show your drawings to friends and family. They will like seeing your art. You can also put your drawings online to share with more people. It’s nice to get kind words from others.

Practice Makes Perfect

Also check:

250 Words Essay on Drawing Hobby

A drawing hobby is when someone enjoys creating pictures with pencils, crayons, or other tools. It’s like playing with shapes and colors on paper or a computer. People who like to draw often do it in their free time because it’s fun and can make them feel happy and calm.

Drawing is not just about making pretty pictures. It can help your brain grow stronger. When you draw, you learn to see things more carefully and remember details better. It’s also a way to share what you’re feeling without using words. If you’re feeling sad or excited, you can show it in your drawings.

Starting with Drawing

To start drawing, you don’t need fancy tools. A simple pencil and some paper are enough. You can draw anything you like, such as your favorite animal, a scene from a story, or even a dream you had. The more you practice, the better you get.

Sharing Your Art

Once you finish a drawing, you can share it with friends and family. They might enjoy seeing your art, and you can feel proud of what you’ve made. Sometimes, you can even join a drawing club at school or in your community to meet others who like drawing too.

Keep Learning and Enjoying

500 words essay on drawing hobby, introduction to drawing as a hobby.

Drawing is a fun activity that lets you create pictures using pencils, crayons, markers, or any tool that makes marks. It’s like having an adventure on paper, where you can make anything you imagine come to life. You don’t need to be a professional to enjoy drawing; it’s a hobby for everyone, no matter your age or skill level.

The Joy of Drawing

One of the best things about drawing is that it makes you happy. When you draw, you can forget about other worries and just focus on your picture. It’s a time when you can be calm and enjoy making something beautiful or interesting. You can draw your favorite cartoon character, a scene from nature, or even how you’re feeling that day. The joy comes from being free to create whatever you want.

Improving Your Skills

The more you draw, the better you get at it. It’s like learning to ride a bike or swim; practice makes perfect. You can try copying pictures from books or the internet to learn new ways to draw things. There are also classes and videos that can teach you new techniques. The important part is to keep trying and not to get upset if it’s not perfect. Every drawing you do helps you improve.

Drawing can be even more fun when you share your pictures with others. You can show them to your family and friends or put them up on your wall. Some people even share their drawings online for the whole world to see. When you share your art, you can make other people smile and maybe even inspire them to start drawing too.

In conclusion, drawing is a wonderful hobby that is easy to start and can bring a lot of joy. It doesn’t matter if you’re young or old, or if your drawings are simple or detailed. The important thing is that you have fun and keep practicing. So, grab some paper and a pencil, and let your imagination run wild on the page. Who knows, you might discover a talent you didn’t know you had, or you might just find a new way to relax and be happy.

If you’re looking for more, here are essays on other interesting topics:

Apart from these, you can look at all the essays by clicking here .

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Question and Answer forum for K12 Students

The Joy Of Art: An Essay On My Hobby Drawing

Essay On My Hobby Drawing: Drawing is one of the most ancient forms of human expression. From cave paintings to modern art, drawing has always been an important medium for humans to convey their thoughts and emotions. Drawing as a hobby is a wonderful way to explore your creativity, reduce stress, and improve your focus. In this essay, I will share my personal experience with drawing as a hobby, discuss the benefits of drawing, and provide tips for beginners to improve their skills.

In this blog, we include the Essay On My Hobby Drawing , in 100, 200, 250, and 300 words . Also cover Essay On My Hobby Drawing for classes 1, 2, 3, 4, 5, 6, 7, 8, 9, and up to the 12th class. You can read more Essay Writing in 10 lines, and essay writing about sports, events, occasions, festivals, etc… The Essay On My Hobby Drawing is available in different languages.

Benefits Of Drawing As A Hobby

Drawing as a hobby has several benefits that go beyond the joy of creating a beautiful piece of art. Drawing can help reduce stress and anxiety by providing a meditative and relaxing activity. When we draw, we enter into a state of flow that takes our mind off our worries and focuses it on the present moment.

Drawing can also be therapeutic. Art therapy is an established form of therapy that uses art as a means of expression and healing. Drawing can help us express our emotions, thoughts, and feelings in a non-verbal way. This can be especially helpful for those who find it difficult to express themselves through words.

Another benefit of drawing is that it can improve our focus and mindfulness. When we draw, we have to pay attention to the details of what we are drawing. This requires us to be fully present in the moment, which can improve our overall mindfulness and awareness.

My Experience With Drawing

I started drawing as a hobby when I was a child. I would spend hours creating doodles and sketches in my notebook. As I got older, I continued to draw, but I never considered it to be more than just a fun pastime. It wasn’t until I started experiencing stress and anxiety in my adult life that I realized the therapeutic benefits of drawing.

Drawing has become a form of meditation for me. When I draw, I am fully immersed in the process, and my mind is free from worries and stress. Drawing has also helped me express my emotions in a non-verbal way. When I am feeling overwhelmed or anxious, I can sit down and draw, and it helps me feel more centered and calm.

Drawing Techniques And Tools

Drawing is a skill that can be improved with practice. There are several drawing techniques and materials that can help beginners improve their skills. One of the most important things for beginners is to start with simple shapes and lines. This will help you develop a steady hand and improve your control over the pencil or pen.

There are several drawing materials that beginners can use, including pencils, pens, charcoal, and pastels. Each material has its own unique qualities, and it’s important to experiment with different materials to find the ones that work best for you.

In addition to the materials, there are several drawing techniques that beginners can learn. These include shading, perspective, and composition. Learning these techniques can help beginners create more realistic and dynamic drawings.

Inspiration And Motivation

Inspiration for drawing can come from anywhere and everywhere. Some people find inspiration in nature, while others are inspired by music or literature. One of the best ways to find inspiration is to explore different art forms and styles. This can help you develop your own unique style and vision.

Motivation is also an important factor in the drawing. Like any skill, drawing requires practice and perseverance. It’s important to set goals and challenges for yourself to stay motivated. You can also find motivation by joining a community of artists or taking a drawing class.

Drawing as a hobby has several benefits that go beyond the joy of creating a beautiful piece of art. Drawing can reduce stress, improve focus and mindfulness, and be therapeutic. Learning drawing techniques and experimenting with different materials can help beginners improve their skills. Finding inspiration and staying motivated are also important factors in becoming a skilled artist. Drawing is wonderful.

Read More: My Hobby Essay

FAQ’s On Essay On My Hobby Drawing

Question 1. Why is drawing my hobby?

Answer: However, I can tell you that people have different reasons for taking up drawing as a hobby.

• Some people find drawing to be a relaxing and meditative activity that helps them reduce stress and anxiety. Others enjoy the creative process and the satisfaction of creating a beautiful piece of art. Some people use drawing as a means of expressing their emotions and thoughts in a non-verbal way.
• Drawing as a hobby can also be a way of challenging oneself and improving one’s skills. Learning new techniques and experimenting with different materials can be a fun and rewarding experience.
• Ultimately, the reasons for why drawing is your hobby are unique to you and may be influenced by your personal experiences, interests, and passions.

Question 2. How do you write a drawing essay?

Answer: Writing a drawing essay involves describing and analyzing a visual artwork, such as a painting, sculpture, or graphic design. Here are some steps to follow:

• Choose an artwork: Select an artwork that you want to write about. It’s best to choose a piece that you have seen in person, but if that’s not possible, find a high-quality image of the artwork to use as a reference.
• Observe and analyze: Look at the artwork carefully and take notes on what you see. Note the colors, shapes, lines, and textures used in the piece, as well as any patterns or motifs. Think about the overall composition of the artwork and how the various elements work together to create a visual impact.
• Research the artist and the artwork: If you’re writing a formal essay, you’ll want to research the artist and the artwork to provide context and background information. Find out when and where the artwork was created, what inspired the artist, and what artistic movements or styles influenced the piece.
• Develop a thesis statement: Your thesis statement should summarize the main point you want to make in your essay. It might be an analysis of the artwork’s meaning, an exploration of the techniques used by the artist, or a comparison of the artwork to other works in its genre.

Question 3. What is your favorite hobby and why is drawing?

Answer: Drawing can be a favorite hobby because it allows for self-expression and creativity. It can also be a relaxing and therapeutic activity that helps to reduce stress and anxiety. Furthermore, drawing can be a way to improve fine motor skills and hand-eye coordination. Additionally, with practice, it can lead to the development of a unique style and a sense of accomplishment.

Question 4. How do you mention drawing in hobbies?

Answer: If you want to mention drawing as one of your hobbies, you can do so in a variety of ways. Here are a few examples:

• “In my free time, I enjoy drawing. It’s a creative outlet that allows me to express myself and explore new ideas.”
• “One of my hobbies is drawing. I find it to be a relaxing and meditative activity that helps me unwind after a busy day.”

Question 5. How do you describe your drawing?

• Describe the subject matter: What is your drawing depicting? Is it a landscape, a portrait, a still life, or something else?
• Highlight the style: What techniques did you use in your drawing? Are there any unique features or elements that make it stand out?
• Comment on the composition: How did you arrange the elements in your drawing? Did you use any particular techniques to create balance or movement?
• Explain your intention: What message or feeling were you trying to convey with your drawing? What inspired you to create it?

Student Essays

Essay on Drawing | Why I Love Drawing Essay For Students

Drawing is the process of using a pencil, pen or other drawing instrument to make marks on paper. It’s an art form that has been around for centuries and has always held great importance in society. The word “draw” comes from the Old English verb “dragan,” which means “to carry.” Its Latin root, “trahere,” means “to pull” or “to draw.” Drawing is about translating an idea into a visual format, often with time taken to explore different ways of making marks on paper until one feels right.

Read the following short & long essay on drawing that discusses brief history, meaning, importance and benefits of drawing. This essay is quite helpful for children & students for school exam, assignments, competitions etc.

Essay on Drawing | Short & Long Essay For Children & Students

Drawings are made with different kinds of tools and techniques, such as the ballpoint pen or pencil. There are a lot drawing instruments in the world which can help people draw what they want.

>>>> Related Post:     Essay on Art For Children & Students

Brief history of Drawing

Drawing is the technique of applying mark-making material to a surface. It’s one of those skills that we take for granted in this digital age, and yet it’s a skill that has been practiced in one form or another by every culture throughout history, whether on cave walls, parchments, animal skin or paper.

The history of drawing is the visceral history of human culture; it’s the way we’ve defined ourselves as people, telling stories, recording our surroundings and communicating our ideas.

Drawing is Easy

To draw is to put down lines, textures or colors that describe figures, forms and shapes. The act of drawing can be practiced by anyone; it does not require specialized tools beyond a piece of paper and writing utensils (e.g., pencils). Some people practice drawing as an art form (i.e., visual arts), or in a general manner as required by functional needs (e.g., quick sketches, architectural drawings).

My Hobby Drawing

People who love to do a drawing as their hobby, they will choose some kind of art that the most fit with their favorite style. For example: people who love to do a sketching will buy some good quality pencils and paper together with a nice sketchbook so that they can draw anytime and anywhere they want. However, many of them will choose to go to a bigger space where there is a good lighting and a big table so that they can easily sketch on their project.

People who love to do some painting will have some brushes, oil paint and canvas ready at home. When they feel boring or when they want to express something, they will bring all the art materials out and start their project.

Drawing vs Art

Drawing is a form of art where you use a pencil or a marker to create an image on paper. This can include sketching, doodles, cartoons, portraits or more complicated images that are finely detailed. If the image is on paper and you used some type of writing utensil to create it, then it’s a drawing!

Why people enjoy drawing?

Drawing is a great way to relax and de-stress. Also, drawings look beautiful on your bedroom or living room walls. No matter the age, there is always something new to learn about drawing. It could be learning to draw realistic eyes or learning different shading techniques. It is a great exercise for keeping the brain agile. As you continue to draw, especially if you are drawing objects that are unfamiliar to you, you are engaging the part of your brain that is responsible for problem solving

Drawing for children

Drawing drawing is not only child’s play, but also an important tool for his intellectual and creative development, as well as a means of expression.. Most parents believe that drawing is an act of scribbling, so they do not pay attention to this, that is a big mistake! Drawing – it’s not just scribbling. This is something more than that. To draw means to show imagination, fantasy and memories. Drawing is a means of expression for children (and adults). And it is the best way to develop fine motor skills, this is very important. When you draw, you move your hands and fingers, make shapes with your hands. This is the best way to work out.

>>>>> Also Read:    Essay on An Ideal Teacher For Students   

Today we have entered into the computer age. The field of drawing has also been profoundly impacted by drawing. There are a lot of drawing software in the world – but few people can draw artwork by using them. Some of them say “Drawing is simple” but if you are not professional, it is difficult to become familiar with the software. The fact that drawing by using these software has many rules which you need to know.

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Essays on Drawing

Faq about drawing.

Illustration Essays: Definitions, Templates and Examples

Chris Drew (PhD)

Dr. Chris Drew is the founder of the Helpful Professor. He holds a PhD in education and has published over 20 articles in scholarly journals. He is the former editor of the Journal of Learning Development in Higher Education. [Image Descriptor: Photo of Chris]

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I’m a university professor, and in this article, I’m going to show you exactly how to write an illustration essay.

1. What is an Illustration Essay?

An Illustration Essay is an essay designed to describe and explain with examples. You will be required to use examples to reveal details about the subject you are discussing.

In many ways, it is the easiest form of essay because you don’t have to come up with a thesis or argue a point. All you need to do is explain with descriptions and examples (or ‘illustrate’) a subject or phenomenon.

Much like when someone draws a picture to show you what something looks like, an illustrative essay uses words to show what something is.

Related Article: 141+ Illustration Essay Topics

2. Difference between Illustrative and Argumentative Essays

You can see that in many ways, an illustrative essay should be easier than an argumentative essay . You can put all your efforts into your explanations and examples.

Aim to create a coherent picture in the reader’s mind about the topic you’re discussing.

3. Definition of ‘Illustrate’

Here are a few definitions of ‘illustrate’:

• Oxford Dictionary says that to Illustrate is to “Explain or make (something) clear by using examples, charts, pictures, etc.”
• MacMillan Dictionary provides this nice, simple explanation: “to show what something is like.”

Let’s now put the term into a few sentences to help clarify it for you just a little more:

• The newspaper article illustrates how the dinosaurs became extinct.
• The story of Abraham Lincoln provides a clear illustration of his life achievements.
• My father’s explanation of how to change oil in a car illustrated the process sufficiently.

Synonyms for ‘Illustrate’

Illustrate may also be interchangeably used with words like:

• Give Detail

4. How to write an Illustration Essay

Here’s how to write an illustration essay:

2.1 How to write your Introduction

The introduction is much like any other in an essay, and therefore I suggest you use the usual I.N.T.R.O formula .

This formula is a way of writing a 5-sentence introduction that orients the reader to the topic. Here’s how it works. Each of the following points forms one sentence of your introduction:

• Inform: Inform the reader of the topic.
• Notify: Notify the reader of one piece of interesting background information about the topic.
• Translate: Translate or paraphrase the essay question.
• Report: Report on your position or argument (This step can be skipped as you will often not need to make an argument)
• Outline: Outline the essay structure. You can use ‘Firstly, secondly, thirdly’ here.

2.2 An example introduction for an illustration essay

This example is for an illustration essay on the topic: Illustrate the various ways young people use social media in their everyday lives.

“Social media has many impacts on young people. Social media is quite new, with the most famous social media site Facebook only being introduced to the world in 2004. This illustrative essay will explain and provide examples of the many ways young people engage with social media every day. The essay will begin with an explanation of what social media is, followed by several illustrative points with examples to give details about what new media is and how it has changed young people’s lives.”

2.3 How to write an illustration paragraph (body paragraph)

Paragraphs in the body of an illustration essay have two purposes:

• Describe and Define: You need to clearly describe and define your subject to the reader. The reader should be left with the impression that you have a deep knowledge of the topic.
• Explain and Exemplify: You need to provide many examples to illustrate your points.

I recommend that you do this in order. Your first few paragraphs should describe and define the subject. Your following paragraphs should give a lot of quality examples.

2.4 Examples of illustrative paragraphs

I’ll keep using the example topic: Illustrate the various ways young people use social media in their everyday lives.

Example of a Describe and Define Paragraph:

“Social media is a form of media that emerged during the Web 2.0 era of the internet. It is unique because it gives people the ability of people to create personal profiles and communicate back-and-forth with one another. It is generally known to have emerged in the early 2000s with websites like MySpace and Facebook, and has changed recently to be heavily mobile responsive with the emergence of smartphones in the 2010s.”

Example of an Explain and Exemplify Paragraph:

“One unique consequence of social media is that it has meant young people are in constant contact with their friends. Whereas in the past young people would have to hang out in person to be in contact, now they can message each other from their homes. For example, young people get home from school and can log into their web forums like Facebook messenger. From here, they can stay in touch and chat about issues that happened at school. While this may be enjoyable, some people also believe that it means young people can continue to be bullied even from within their own bedrooms.”

2.5 How to write a Conclusion for an Illustration Essay

To conclude your illustrative essay, feel free to use the normal conclusion paragraph style. My preferred template for a conclusion is the 5 Cs Conclusion method .

Here’s a brief summary of the 5 Cs Conclusion method. Like the INTRO method, you can write one sentence per point for a 5 sentence conclusion paragraph:

• Close the loop: Refer to a statement you made in your introduction to tie the beginning and end together.
• Conclude: Show your final conclusion on the issue. As this is an illustrative essay that generally does not require a unique thesis statement, this step can be blended with ‘Clarify’.
• Clarify: Show how you have answered the essay question
• Concern: Show who would be concerned about the issue.
• Consequences: Show what the consequences of the issue are for real life.

Read Also: 39 Better Ways to Write ‘In Conclusion’ in an Essay

2.6 Example Conclusion for an Illustrative Essay

Here’s an example conclusion for an illustrative essay on the topic: Illustrate the various ways young people use social media in their everyday lives.

“The beginning of this essay pointed out that social media is quite a new phenomenon. Nonetheless, it appears to have had a significant impact on young people’s everyday lives. This essay has illustrated this fact with examples including points on how many young people use social media at home every night, how it has impact how bullying occurs, and helped them to stay in touch with friends who live long ways away. Parents and teachers should be concerned with this issue in order to help children know when to switch off social media or use it responsibly. Social media is not going anywhere and will continue to impact the ways young people interact with one another on a daily basis.”

5. A Template Just for You

6. Illustration Essay Topic Ideas

I’ve provided a full list of over 120 illustration essay topics you can choose form on this post here .

For a summary of 5 of my favorites, see below:

• Provide an illustration of the lifestyle of American Pilgrims in the first few years of settlement. You can dig deep in this example by giving explanations of the farming practices, initial struggles faced, and the complex relationships between colonizers and Indigenous peoples.
• Provide an illustration of the factory line production model and how it changed the world. Here, you can dig deep with examples of how the production line model was different to anything that came before it. You can also explain it using an example of a product going through a factory, such as a Model T Ford.
• Provide an illustration of the ways the court system seeks to ensure justice is served. Courts are complex places, so you can dig deep here to explain why we have them and how they help keep all of us safe.
• Provide an illustration of human development from birth to 18 years of age. You can dig deep in your explanation of how children move through stages of development before becoming what we consider to be fully grown adults. I selected this example for the illustration essay above.
• Provide an illustration of how and why the Pyramids were built. An illustration of these remarkable structures can help you delve deep into the ways ancient Egypt operated. Discuss the ways pharaohs saw pyramids as spiritual buildings, how they used slaves to build them, and the remarkable engineering coordination required to build enormous structures back before we had machinery to help out!

7. Illustration Essay Example

Topic: “Provide an illustration of human development from birth to 18 years of age. (1000 words)”

Introduction of the Illustration Essay:

Children are born with complete dependence on their parents for their own survival. Over the next 18 years they go through several stages of biological and cognitive development before reaching full maturation. This illustrative essay explores several key ideas about how humans develop in their first 18 years. There are multiple different understandings of how humans develop, and several of the major ones will be illustrated in this essay. First, the key ideas behind human development are defined and described. Then, several examples of key parts of human development in childhood are presented with a focus on Piaget’s approach to human development.

Body Paragraphs of the Illustration Essay – Definition and Description:

Human development is the process of human growth from birth through to adulthood. It is a process that takes somewhere between 16 and 25 years, although most western societies believe a child has reached adulthood on their 18 th birthday (Charlesworth, 2016). The process behind child development has been defined and described in multiple different ways throughout history. Two of the key theorists who describe child development are Piaget and Freud. Both believe all children develop in clear maturational stages, although their ideas about what happens in each stage differ significantly (Davies, 2010).

Freud believes that all children develop through a series of psychological stages. At each stage of development, children face a challenge which they must overcome or risk experiencing psychological fixations in adulthood. Freud outlined five stages of child development: the oral (0 – 1 years of age), anal (1 – 3 years of age), phallic (3 – 6 years of age), latency (6 – 12 years of age) and genital (12+ years of age). For each stage, there is a challenge (Fleer, 2018; Devine & Munsch, 2018). These are: weaning off the breast (oral), toilet training (anal), identifying gender roles (phallic), social interaction (latency) and development of intimate relationships (genital). If the child successfully navigates each stage, they will become a well developed adult.

By contrast, Piaget was focused less on psychological development and more on cognitive maturation. Piaget also believes that all children develop in roughly equal stages (Devine & Munsch, 2014). Piaget outlined five stages of development: the sensorimotor (0 – 2 years of age), preoperational (2 – 7 years of age), concrete operational (7 – 11 years of age) and formal operational (11+ years). In each stage, the child is capable of certain tasks, and should be encouraged to master those tasks to develop successfully to the next stage. These tasks include: mastery of the sense and motor skills to navigate the world (sensorimotor), capacity to use language and think using symbols (preoperational), ability to use logic and understand time, space and quantities (concrete operational), and ability to use abstract and hypothetical thinking (formal operational) (Charlesworth, 2016).

Body Paragraphs of the Illustration Essay – Explanations and Examples:

For the remainder of this essay, Piaget’s stages will be used to illustrate how children are perceived to develop. Piaget’s stages are still widely acknowledged as useful for teaching and guiding children through cognitive development, and are generally more well received in contemporary society than Freud’s. Their value in education make them an important set of stages to understand for teacher educators. Furthermore, many educational curricula around the world continue to roughly teach in stages commensurate with Piaget’s stages (Kohler, 2014). They are therefore important stages of child development to understand.

The first stage is the sensorimotor stage (0 – 2). Children in the sensorimotor stage need support to develop skills in navigating their immediate environments. At this stage, children are given objects with various textures, shapes and compositions to allow children to touch and learn about their world (Kohler, 2014). Children in this stage also learn to develop the understanding that when things are out of their sight, they still exist! Piaget called this skill ‘object permanence’. For example, the game ‘peek-a-boo’ is often very entertaining to young children because their parents’ faces appear to disappear from the world, then reappear randomly (Isaacs, 2015; Devine & Munsch, 2018).

The next stage is the preoperational stage (2 – 7). In the preoperational stage, children learn to develop more complex communicative capacities. Children develop linguistic capacities and begin to express themselves confidently to their parents and strangers. Children also develop imaginative skills, and you often see children engaging in imaginative play where they dress up and pretend to be princesses, firefighters and heroes in their stories (Isaacs, 2015). At this young age, children are very egotistical and continue to see themselves as the centre of the world. To help children develop through this stage, parents and teachers should encourage creative writing and praise children whenever they may see things from other people’s perspectives (MacBlain, 2018).

The third stage is the concrete operational stage (7 – 11). At this stage, children learn to think logically about things in their everyday environments. They therefore develop more complex capacities to reason and do mathematical tasks. At this stage teachers tend to encourage children to learn to come to conclusions using reason and scientific observations (MacBlain, 2018). At this level many children are able to see things from others’ perspectives, but remain focused on their own lives and things in their immediate environments (Kohler, 2014).

Lastly, from ages 11 and up, children develop into the formal operations stage where they can think abstractly. In this stage, ethical and critical thinking emerges. These young people are now starting to think about issues like social justice and politics (Kohler, 2014). They also develop the capacity to do more complex mathematical tasks in the realm of abstract rather than concrete maths. A real life example may include the capacity to complete algebraic tasks. This is why algebra tends to become a part of mathematics curricula in middle and high school years (Charlesworth, 2016; MacBlain, 2018).

While Piaget’s stages are widely acknowledge to be accurate for ‘normal’ development, there is criticism that these stages do not reflect the development of children across all cultures and abilities. For example, children with autism may develop at faster or slower rates (Isaacs, 2015). Similarly, it appears children in some non-Western cultures develop concrete operations at a much younger age than children in Western societies. Thus, other theorists like Vygotsky have demonstrated that we should not see child development in set rigid stages, but instead think of development as being heavily influenced by social and cultural circumstances in which children develop (MacBlain, 2018).

Conclusion of the Illustrative Essay:

At the beginning of this illustrative essay, it was stated that children use the first 18 years of their life to develop biologically, psychologically and cognitively. Zooming in on cognitive development, this essay has illustrated child development through Piaget’s four stages of cognitive development. Through these stages, it is possible to see how children develop from very dependent and unknowledgeable states to full independence from their parents. Teachers should know about these stages of development to properly understand what level children should be at in their learning and to target lessons appropriately.

References:

Charlesworth, R. (2016). Understanding child development. Los Angeles: Cengage Learning.

Davies, D. (2010).  Child development: A practitioner’s guide . New York: Guilford Press.

Fleer, M. (2018). Child Development in Educational Settings . Cambridge: Cambridge University Press.

Isaacs, N. (2015). A Brief Introduction to Piaget. New York: Agathon Press.

Kohler, R. (2014). Jean Piaget. London: Bloomsbury.

Levine, L. E., & Munsch, J. (2018).  Child Development from Infancy to Adolescence: An Active Learning Approach . London: Sage Publications.

MacBlain, S. (2018).  Learning theories for early years practice . London: SAGE.

• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd/ 60 Would you Rather Questions for Students (Of all Ages)
• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd/ 25 Classroom Games Ideas for High School
• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd/ 25 Classroom Games Ideas for Middle School
• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd/ 25 Classroom Games Ideas (For Elementary School)

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Writing on Drawing

Essays on drawing practice and research.

Edited by Steve Garner

Increased public and academic interest in drawing and sketching, both traditional and digital, has allowed drawing research to emerge recently as a discipline in its own right. In light of this development, Writing on Drawing presents a collection of essays that reveal a provocative agenda for the field, analyzing the latest work on creativity, education, and thinking from a variety of perspectives. Bringing together contributions by leading artists and researchers, this volume offers consolidation, discussion, and guidance for a previously fragmented discipline. Available for the first time in paperback, it will be an essential resource for artists, scientists, designers, and engineers.

192 pages | 47 halftones, 3 tables | 7 x 9 | © 2008

Art: Art--General Studies

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“This book captures the range of current debates, each contributor addresses themes that are significant to the development of drawing both as a practice and as a critical discourse. The book helps to outline an intellectual frame of reference for drawing practices, and allows an interdisciplinary conversation around the role of these activities in the wider world. This is an impressive achievement, as an academic who wishes to explore drawing as a cognitive process and as an artist working in the mass mediated world where the language of drawing has found a vital role, this book will be invaluable for me and to my students.”—Mario Minichiello, Birmingham City University

Mario Minichiello, Birmingham City University

“The past decade has seen a change of attitude towards drawing. Its importance as an element in human intelligence is now widely appreciated. However, there has not been a clear picture of research in the field or an agenda for future investigation. Writing on Drawing fills this gap. It gives an insight into current work and it is clear that a paradigm shift is underway. Drawing is, of course, strongly identified with art and design but it is now being seen in a much broader context. The contributions to this book give a new insight into this fascinating activity.”

Ken Baynes, Loughborough University

“Most  art libraries have nothing in their holdings that quite resembles this book. . . . Recommended.”

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Why I love to draw

Artwork by Gianna Cabral

GIANNA CABRAL , Staff Writer February 17, 2017

Whether you like cooking or simply playing sports, everyone has a hobby they enjoy doing in their free time. We all need an outlet to let us forget about the world for a while and for me that escape is drawing.

Typically there’s a misconception that you have to be good at drawing in order to enjoy it, but all you really need is a creative mind to be an artist. People can be very judgemental towards one another, but the best part about being an artist is that there is no right or wrong in a piece of art that you have created.

One thing I love about drawing is that you can tell any story you want through your artwork. I find it so fascinating that everyone’s perspective is completely different from one another, and that shows in their artwork. I love to draw pictures that people can interpret in whatever way they choose.

I also love to draw because it gives me a sense of freedom. When I pick up a pencil and draw, I have the ability right at the tip of my fingers to create and destroy anything my heart desires, and that feeling makes me feel so powerful.

Also, as someone who’s not entirely good at putting my feelings into words, drawing enables me to express my emotions without having to speak. Drawing something that represents how I feel allows me to show how I’m feeling when I can’t seem to get the words to come out of my mouth.

Drawing helps me drown out all of the negativity in life when it gets too much. When I have a bad day and don’t want to get out of bed, I like to create art. When I feel sad or angry and don’t totally understand why, putting my thoughts onto a piece of paper through a drawing helps me understand my emotions a little bit better. Even though we all go through sadness and pain, for me creating art allows me to take all of those awful emotions and create something beautiful out of it.

Not only does drawing make me feel better temporarily, but it gives me so much strength, optimism, and confidence that I can do anything. I feel like drawing gives me a purpose in this world. When I create art, it gives me hope that someone might see my artwork and make a connection to it. I could make someone feel empowered simply because they can relate to my artwork. Who knows, maybe one day you’ll see one of my pieces of art and feel inspired, too.

Gianna Cabral is a senior at Gloucester High School and third year Gillnetter staff writer. She can be found creating art or attending concerts. During...

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John Landry • Sep 19, 2022 at 3:59 am

My art is essentially a mini-vacation. Whatever I put down, I visit it every day. It’s some place where I can escape for a couple of minutes. But, like I said, it’s a mini-vacation for me.

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As an artistic endeavour, drawing is almost as old as humankind. In an instrumental, subordinate role, it developed along with the other arts in antiquity and the Middle Ages . Whether preliminary sketches for mosaics and murals or architectural drawings and designs for statues and reliefs within the variegated artistic production of the Gothic medieval building and artistic workshop, drawing as a nonautonomous auxiliary skill was subordinate to the other arts. Only in a very limited sense can one speak of centres of drawing in the early and High Middle Ages; that is, the scriptoria of the monasteries of Corbie and Reims in France, as well as those of Canterbury and Winchester in England, and also a few places in southern Germany, where various strongly delineatory (graphically illustrated) styles of book illumination were cultivated .

In the West, the history of drawing as an independent artistic document began toward the end of the 14th century. If its development was independent, however, it was not insular. Just as the greatest draftspeople have been for the most part also distinguished painters, illustrators, sculptors, or architects, so the centres and the high points of drawing have generally coincided with the leading localities and the major epochs of the other arts. Moreover, the same stylistic phenomena have been expressed in drawing as in other art forms. Indeed, drawing shares with other art forms the characteristics of individual style, period style, and regional features. Drawing differs, however, in that it interprets and renders these characteristics in terms of its own unique mediums.

Drawing became an independent art form in northern Italy , at first quite within the framework of ordinary studio activity. But with nature studies, copies of antiques, and drafts in the various sketchbooks (those of Giovannino de’Grassi, Antonio Pisanello, and Jacopo Bellini , for example), the tradition of the Bauhütten studio workshop changed to individual work: the place of “exempla,” models, reproduced in formalized fashion was now being taken by subjectively probing and partially creative drawings. In the early 15th century the international Soft Style of the period still largely predominated over the draftsperson’s individual “handwriting.” At mid-century, however, the differentiation of drawing style according to region and the artist’s personality set in. Essential criteria , destined to remain characteristic for generations, begin to strike the eye.

In drawing produced north of the Alps, the characteristic features lie in the tendency to pictorial compactness and precise execution of detail. Many painters produced individual drawings, but the most notable draftspeople are the otherwise unidentified 15th-century German Master of the Housebook and his contemporary Martin Schongauer . Both of these artists were also major copperplate engravers, so that it is not always easy to determine whether the work is a preliminary sketch or an independent drawing.

In Italian Renaissance drawings, of which there are a great many, the diverging stylistic features of the various artistic regions were particularly evident. What they had in common was the overwhelming importance of the sketch and the study, in contrast to the far rarer finished drawings. The formal and thematic connection with painting is very close even when it was not a question of preliminary drawings. The draftspeople of Venice and northern Italy preferred an open form with loose and interrupted delineation in order to achieve even in drawing the pictorial effect that corresponded to their painters’ imagination.

In central Italy, on the other hand, and especially in Florence , it was the clear contour that predominated, the closed and firmly circumscribed form, the static and plastic character. Corresponding to the functional purpose of drawing, the individual artists’ studios (which, as was the case with the Medicis’ Academy of St. Mark, also had to engage in general educational and humanistic investigations) formed the most significant centres of art drawing. In these large studios, drawing served not only for the probing realization of creative ideas, it was not only study and mediator between the conception and the master’s finished work; it functioned also as teaching aid for the assistants who worked with the master and as a vehicle for the formation and preservation of an individual workshop tradition. Although Leonardo ’s scientific interests were expressed in a large number of drawings, his ideal concept of the human figure is much more frequently preserved in the drawings of his collaborators and successors than in his own. Raphael and Michelangelo were also outstanding draftsmen. Each of them used drawing in order to allow his thoughts about individual works to mature; each had a highly personal drawing style, the one with a soft and rounded stroke, the other with a sculptor’s intermittent and powerful stroke. Probably a great deal of drawing was done in Raphael’s studio, especially if only for the preparation of the engravings after Raphael’s compositions . From Michelangelo’s hand came the first so-called connoisseur drawings that are esteemed as a personal document. They are the precursors of the collector’s drawings that began in the later 16th century (autonomous works, destined for collections).

North of the Alps the autonomy of drawing was championed in the first instance by Albrecht Dürer , an indefatigable draftsman who mastered all techniques and exercised an enduring and widespread influence. The delineatory constituent clearly predominates even in his paintings. This corresponds to the general stylistic character of 16th-century German art, within which Matthias Grünewald , with his freer, broader, and therefore more pictorial style of drawing, and the painters of the Danube school , with their ornamentalizing and agitated stroke, represent significant exceptions. In their metamorphosing of the perceived reality into drawings, the landscapes of Albrecht Altdorfer and Wolf Huber in particular are astonishing documents of a feeling for nature that might almost be called Romantic .

Soberer, incredibly compact in their pictorial concept and yet akin to the Renaissance in their objective viewing, were the portrait drawings of Hans Holbein, the Younger , whose sojourns in 16th-century England proved stimulating to other artists as well. Similar, if less personal than Holbein because of the stricter linearity of their work, were the drawings of the French portraitists Jean and François Clouet . In the Low Countries , where they were combined with the idealized image of Italy (as in the drawings of Lucas van Leyden ), Dürer’s methods gained lasting popularity in the landscape drawings and studies “after life” by Pieter Bruegel the Elder .

Drawing acquired a pivotal significance in the period of Mannerism (c. 1525–1600), both as a document of artistic invention and as a means of its realization. Jacopo da Pontormo in Florence, Parmigianino in northern Italy, and Tintoretto in Venice used point and pen as essential and spontaneous vehicles of expression. Their drawings were clearly related to their painting, both in content and in the graphic method of sensitive contouring and daringly drawn foreshortening.

I write about drawing a lot. I write about how to draw, how to draw more, and how to draw in your own way. But what about  why we draw?

This is going to sound melodramatic, but I say this in all seriousness: Drawing has had a profound impact on my life. Without drawing, I don’t know who I would be, where I would be, or how I would deal with everything that happens in life. Drawing is the most powerful tool I have.

But again, why? Why is drawing so powerful? What does drawing do for me? Why do I draw? I’ve been thinking about these questions for a long time, and my answer comes in 3 parts.

1. Drawing helps me see the blobbies inside me

I tend to bottle things up and push things down. It’s taken me 30 years of life to realize this doesn’t work, and eventually everything just crashes down in a wave of exhaustion and confusion. I’ve realized how easy it is to be unaware of my inner thoughts and feelings and how deeply important it is to be in tune with them. So now I’m trying to become more aware of how I’m feeling, and drawing is aiding that process.

Over the years, drawing has evolved from something I did for fun, to something I did for my job, to something that opens up a channel to my inner self. Besides talk therapy , drawing is the only thing I’ve found that can help me see what’s really going on inside.

Almost every time I sit down to draw in my sketchbook, what comes out is a direct reflection of how I’m feeling in that moment. My sketchbook becomes a visual diary that can illuminate feelings I didn’t realize I had. I turn off my thinking brain, move my pen across the paper, then look down and think, ‘Why did I draw a big, bulbous toad with his belly hanging over his feet, droopy eyes, and a dead pan face? Oh, yeah. It’s because that’s totally how I feel right now.’

Drawing in my sketchbook helps me learn about myself. It keeps me honest with myself. It feeds something deep down inside of me, and it allows that something to come to the surface. I call these things blobbies, and drawing can give them a voice.

2. Drawing helps me share the blobbies inside me

These blobbies are inside all of us, and if you’re anything like me, you’re not in the habit of going around talking about them to other people. But this is why we have a stigma around mental health and why we all feel like we’re the only ones struggling with our blobbies. We put on a mask, act like everything’s ok, and in turn believe that everyone else has their stuff together.

My drawing and writing has allowed me to share these blobbies in a way I never could before. Becoming vulnerable with others and sharing what’s really inside me is powerful for both me and whoever sees my art. Because we all struggle with our own blobbies, seeing other people’s can remind us we’re not alone.

Van Gogh once wrote in a letter to his brother,

“ Does what goes on inside show on the outside? Someone has a great fire in his soul and nobody ever comes to warm themselves at it, and passers-by see nothing but a little smoke at the top of the chimney.” -Van Gogh

When I share my fire and blobbies, I’m able to connect with other people on an entirely different level. The connection you share with someone who has experienced something similar to you and the validation you feel from hearing a story similar to yours is invaluable.

I used to think that motivational quotes and emotional artwork was melodramatic and over-the-top. But now, having gone through a period of darkness, those works of art have taken on a whole new meaning. When we’re struggling, just having someone to relate to is extremely powerful. Others have been this to me when I needed it, and I aim, by sharing my own blobbies artwork, to be this to others.

3. Drawing helps me deal with the blobbies inside me

Not only does drawing help me become aware of the blobbies inside me, it also helps me clear my head by reflecting on and clarifying those thoughts and feelings.

When I sit down to draw, everything else drops away. The external world fades out and it’s just me, my blobbies, and my sketchbook. Drawing allows me to anchor myself in the present moment, rather than dwelling on the past and stressing about the future. It forces me slow down. It helps me focus on the only thing going on in this one moment: this one line, this one mark, this one color.

If I begin a drawing feeling agitated, grumpy, and stressed out, I almost always finish a drawing feeling more relaxed, content, and at peace. I draw my stress. I draw my worries. I draw my blobbies—often literally. Sometimes as the blobbies leave my pen, they leave me.

Other times, the blobbies are still there inside me, but I now have more awareness and acceptance of them, instead of denial and shame. When I finish a drawing, I’m reminded that my blobbies don’t control my life, I do.  It makes me feel more accepting of who I am in this moment. Drawing reminds me that I am capable of change and growth.

Why I Draw: Drawing improves my mental health

Drawing helps me do these things, but I am still far from perfect. I have anxious thoughts, get overwhelmed, shut down, and get stuck in my own head. I can still feel insecure, powerless, stuck, exhausted, grumpy, hangry, unaware, depressed, and stressed out. Sometimes my blobbies run the show without me even knowing.

I am so very imperfect.

But that is precisely why I need drawing.

Thanks for reading, and I hope drawing can do the same for you.

Let me know why you draw by commenting below!

<3, Christine

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Home — Application Essay — Liberal Arts Schools — About Drawing: Color and Form as a Way to Express Myself

About Drawing: Color and Form as a Way to Express Myself

• University: Macalester College

About this sample

Words: 621 |

Published: Jul 18, 2018

Words: 621 | Pages: 2 | 4 min read

I've decided to write my college essay about drawing because, by now, color and form are two essential ways I express myself. In my art I often draw myself as a stick figure with a shock of bright red hair. My family, friends, and even strangers have always commented on the thousands of freckles that pepper my body. This may be why I first began to notice the colors and forms that surround me and to use them for myself. I painted my room orange with a thick magenta stripe. I wear vibrant clothes with colorful patterns and detailed designs. I am even writing this essay through pictures. First, I draw the moments when I have learned most about myself. Then I write thoughts and words on the sketches I have made.

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Along the edges of the paper I write some facts about my life: For six summers, I lived with eight girls for a month in a ten-by-twenty-foot cabin. I went to Willard Elementary School in Ridgewood, New Jersey through fifth grade and all I can remember is the playground. My younger sister gets to do things before I did, but at least I don’t throw like a girl. Orange County is full of evangelists and born-again Christians while I am an atheist. My high school was built on an old landfill, but luckily we get a strong breeze from the ocean. Each month I get a $250 allowance. Unfortunately, it is not enough for Disneyland. After six weeks in China, every time I see toilet paper in a bathroom I smile to myself.

I draw two identical tall towers and two groups of stick figures. One group sits at desks in my seventh grade classroom in New Jersey. The teacher says, “If any of your parents work near the World Trade Center, go call them now.” Karen’s father worked on the top floor. He went downstairs to get a doughnut, and Krispy Kreme saved Mr. Price. Twelve others in our town lost their lives. The second group stands talking in my tenth grade classroom in California. They say, “My uncle’s friend was on the runway.” “My cousins were going to visit the Twin Towers that day.” They compete for the worst story.

I make a box with a list on it: “What Do We Compete For?”

• The most exclusive country club.
• The best-known school.
• The most valuable antiques.
• The most “friends” in the Hamptons.
• The fastest car.
• The biggest bra size.
• The richest husband.
• The youngest wife.

With my marker I draw my friend Robert’s fire-engine-red Ferrari. White racing stripes glide along the length of the body and I am the stick figure in the passenger’s seat. I print words crawling around the wheels and tumbling out as exhaust: The engine explodes to life with the push of a button. Between fourth and fifth gear I feel a moment of silence, a void of movement or sound before we catapult down the Pacific Coast Highway. We are 17, and the Ferrari is Robert’s third car. This is the twisted world I now live in.

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Dull green and brown earth, small red temples: I draw a giant mountain bowl filled with morning silence. I am standing at the center of the bowl in a square white courtyard, watching a Tibetan Buddhist monk pray on the steps of the monastery. Through the stillness my mind jabbers: Could I live the way he does? Do I have an untapped reservoir of devotion and discipline? I think of the differences between my home and his, my life and his. So pointless, so futile. The aged monk lifts his red robe, bows his head, steps across the high threshold and through the door.

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Essay on My Hobby Drawing [With PDF]

Drawing is one of the most favourite hobbies among children all around the world. That’s why a trend of essay writing on the hobby of drawing is always noticed in various examinations all around the world. Because of that, we have decided to come up with such a session that will show the proper method of writing essays on drawing hobby.  So here we are presenting a session on essay writing on my drawing hobby specifically for students who are in class 6-9.

Essay on My Hobby Drawing within 100 Words

My Hobby Drawing

I am a student of class 6. All my friends have something as their hobby. My hobby is drawing pictures. I love to draw since when I was in class 2. As my drawing teacher, I admire Mr. Swapan Saha from whom I’ve learned the basics of drawing. I love to draw natural sceneries as well as figures.

My teacher always says that nature should be the ultimate inspiration for any painter. That’s why all of us should try to draw pictures not only from drawing books but also from our own. I always try to follow all the advice of my teacher. In the future, I want to be a painter like Swapan Sir.

Essay on My Hobby Drawing within 150 Words

All of my friends have chosen something as their hobby. Ramesh chose gardening, Tithi chose to stitch design on clothes, and therefore I have chosen drawing as my hobby. I am a student of class VII of Madonmohan High School. My class teacher always says that everybody should choose that as their hobby what he/she loves. I love painting from even my early childhood.

In terms of my hobby, my father is my inspiration. He is a very good painter. He always teaches me how to draw human figures, rivers, and mountains. But I love to draw animals in my paintings. I prefer pencil scatches rather than colored pictures.

Still, I have learned to paint with different colors. With those colors, I love to paint rainbows the most. Rainbows, mountains, waterfalls are still a mystery to me. Father says, these all are the gifts of nature to us. In my future, I always want to be a painter like my father.

Essay on My Hobby Drawing within 300 Words

Every people in the world choose something as their hobby. One of my school teachers says that a perfect hobby helps a person to get mentally mature and content. So, it is very important to choose a proper hobby in life. He also says that a person should only choose something as a hobby that he/she loves to do. These hobbies help us to spend even our leisure time with productivity. 

I am a student of class VIII. I love to draw pictures since I was a child. That’s why I chose drawing as my hobby. This hobby doesn’t only help me to spend my leisure time, but it also helps me to think deeply and explore the creative nature inside me. I usually prefer to draw pictures, not from the drawing books but from the canvas of my own mind.

That’s why after finishing every picture, I feel that the creative mind inside me has got awaken. My drawing teacher says that it improves the level of creativity inside a human being. I started attending formal drawing classes since I was in class II.

At the very beginning of my classes, I learned pencil sketches of different objects and thereafter shifted to oil pastel colors. Now after spending long years with pencil sketches and oil pastel, I have shifted to watercolor.

My drawing teacher told me that I will be learning to paint on canvas after my 10th board examination. For that now I need to deeply focus on learning all the basics. I am very excited about learning how to paint on canvas. I would also love to learn the method of oil painting my future.

I have decided that whatever I will do professionally in my life, I will continue painting. My drawing teacher, Mr. Rajat Banerjee is my inspiration in this case. 

Essay on My Hobby Drawing within 400 Words

Drawing; My Hobby

A hobby is something that a person pursues to take a break from the same monotonous regular routine. That’s why everyone chooses something as a hobby that they love. Because as wise men say that love can be the ultimate motivation to do something.

So, we all need to choose something as our hobby that we are passionate about. Without passion, all our efforts to do something creative go into the vein. That’s why my father says that hobbies are needed to be chosen wisely and very carefully for proper utilization of both time and effort. 

I am a student of class IX of XYZ school have chosen drawing as my hobby since childhood. From my very early age, I love to draw pictures. The subject of the picture hardly matters to me. Rather I focus on the interior design inside my painting. I used to draw pictures on papers as well as floors without any formal training since I was a child.

Now I consider that phase as the most creative part of the painting life. Because what we see from a child’s naked eye and draw as pictures are completely different from what we see and draw now. My parents always inspired me the most in pursuing my hobby. They want me to see as a professional painter in my life. In order to have the basic training of drawing, I started my formal classes from class III.

I chose renowned painter Mr. Basab Chatterjee as my drawing teacher. He always tells me that painting is all about thinking deeply. According to him, our pencil draws beautiful lines as our mind possesses beautiful thoughts. So, before working on the techniques, we need to work on our ability of thinking. I prefer watercolour paintings rather than any other method.

Besides drawing, I love to read many different kinds of books on painting. My drawing teacher has a massive collection of books on the history of painting. I borrow books from him and read them thoroughly. From there I have learned about painters like Leonardo da Vinci, Raphael, Sandro Botticelli, Vincent van Gogh, etc.

I have read about many different art movements and different schools of paintings. My favorite painters are Abanindranath Tagore and Nandalal Bose. Their life and style of painting inspire me a lot. I want to go to the Indian College Of Art & Craft for higher studies on painting after completing school.

That was all about essay writing on My hobby Drawing. We have tried to cover every possible point on the topic from the very perspective of class 6-9 grade students. Moreover, we have maintained the word limit relevant for various examinations. Hope you found this session helpful as per your requirement. Let us know your valuable opinion as well as suggestions for this session in the comment section below. Thank you; see you again very soon.

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Writing on drawing : essays on drawing practice and research

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Figure 1. Donald Judd, Untitled , 1967 Graphite on paper, 10 3/4 x 13 1/4 inches (27.3 x 33.7 cm) Art © Estate of Donald Judd/Licensed by VAGA, New York, NY

The Porous Practice of Drawing:

System, seriality, and the handmade mark in minimal and conceptual art, by meredith malone.

The exhibition Notations: Contemporary Drawing as Idea and Process presents drawings produced by seminal American artists associated with Minimal, Postminimal, and Conceptual art, as well as a selection of works by artists of subsequent generations who continue to engage with the aesthetic strategies and procedures of their predecessors. 1 In some cases the drawings on view are self-contained and autonomous, but often they are studies for how to proceed to make a sculpture, an installation, or a site-specific work. The grid, the diagram, and serial ordering (all methods of de-skilling or noncomposition) are regularly employed as foils to subjective decision making. Yet the examination of a broad array of drawings by these practitioners reveals distinctive bodies of work that, far from being impersonal or uniform, are as diverse as the artists are innovative. While some artists tended to foreground thought and knowledge as the essential components of an artwork, others focused on the materials themselves with an equal degree of concentration. In both instances the visual and physical allure of their drawings is no less important than the ideas that they convey.

Central to the exhibition is the paradoxical compatibility between the use of a priori systems and the individual touch of the artist in an artistic environment that embraced an antiemotive “serial attitude” as something akin to an ethos. 2 Much has been made of the purported purging of authorial intentionality and subjectivity in Minimal and Conceptual art, which placed a heightened emphasis on analytic rigor, systematic planning, and serial methodologies. This move is often characterized as a “cool” reaction to the “hot” psychologically transparent practices and rhetoric of heroic individualism associated with modernist abstraction in the United States in the post–World War II era. 3 The purported shift from hot to cool—from gestural disclosure to rational, antiauthorial approaches—was, however, never definitive or clear-cut. Drawing, a medium long associated with both the activity of ideation and the manual act of creation, played a central role in attempts by artists associated with the process-based and conceptually rigorous practices of Minimal and Conceptual art to open up established understandings of aesthetic production as well as a generative site for the ongoing negotiation of the relationship between subjective and objective approaches, between touch and measured distance. Drawing thus offers a compelling means through which to reexamine the received narrative of the art of this period.

Artists engaged in a variety of strategies and agendas—including Dan Flavin, Eva Hesse, Barry Le Va, and Sol LeWitt—readily embraced drawing’s salient attributes—its mobility and elasticity, its economy and antimonumental character, its exploratory nature, and its facility for acting as a mediator, translating abstract concepts into form—to produce works that are notational, diagrammatic, and reductive. Often small in scale, delicate, playful, and highly nuanced, these drawings suggest a level of intimacy and direct encounter with the artists’ thoughts and intentions that is less readily apparent in their work in other mediums. Drawing is approached here as a powerful if underrecognized lens through which to explore the productive tensions between rational calculation and subjective expression, concept and material form, and precision and disorder that animate much of the work on view in this exhibition.

Industrial Fabrication / Individual Notation

Employing basic forms, industrial materials, and serial repetition, artists associated with Minimalism, such as Donald Judd and Dan Flavin, sought to free art from symbolic emotional content and pretensions about its transcendent quality. While the established narrative of Minimalism emphasizes an obscuring, even an erasure, of the artist’s hand through the use of industrial fabrication and readymade materials, the preparatory and working drawings (necessities given that their art objects were fabricated industrially) produced by these artists reintroduce the hand into the movement’s legacy. 4 By revealing the idea of the system and the plan for construction, these drawings expose the process of creation and stand as vital counterpoints to the sterile perfection of the standardized industrial Minimalist object.

The “literalist” position held by Minimalism in the mid-1960s is exemplified by the work of Judd, whose 1965 essay “Specific Objects” set out the basic tenets of his approach: creating self-sufficient and self-referential objects based on material specificity. Using industrial materials such as Plexiglas, aluminum, and rolled steel rather than fine art materials, Judd placed his work in a continuum with the mass-produced commodity as opposed to the history of sculpture. The artist employed drawing to work out structure, proportion, and spatial relationships for sculpture but never considered his works on paper as anything other than technical instructions, a type of language used to convey information for the execution of standardized three-dimensional forms. Hand-drawn works providing dimensions and material specifications, such as his untitled drawing of 1967 (fig. 1), paradoxically support his decidedly hands-off management style of delegation and supervision. 5

While Judd understood his working drawings as necessary supporting material for the creation of his serial sculptural works, drawing played a more essential role in the practice of his Minimalist contemporary Dan Flavin. The artist drew incessantly and for a variety of purposes: to notate an idea or create working drawings for artworks in other media; to make quick renderings of nature; to execute finished presentation drawings for sale; and to commission “final finished diagrams”—drawn in colored pencil on graph paper by his wife, son, and studio assistants—which acted as records of his site-specific fluorescent light installations. 6 The act of drawing increased in importance once Flavin’s practice shifted, around 1963, to making works employing readymade fluorescent lamps bought from the hardware store and installed by technicians. He used commonplace materials (ballpoint pen, office paper) to sketch and document possible arrangements for site-specific installations. Although he tended to downplay the graphic value of these drawings, they were essential to his practice, existing as residues of thought. Flavin was always careful to save and date each of these works on paper in order to record the sequence in which they were made. Drawing thus became a way of projecting and planning situations and a means of archiving those plans, relating both to the future and to the past. 7

Figure 2. Dan Flavin, Four drawings for the John Weber Gallery, Feb. 7, 1973; Feb. 8, 1973; Feb. 12, 1973; Feb. 14, 1973 , 1973 Ballpoint pen on typing paper, 4 sheets, each 8 1/2 x 11 inches (21.6 x 27.9 cm) © 2012 Stephen Flavin / Artists Rights Society (ARS), New York

Four Drawings for the John Weber Gallery, Feb. 7, 1973; Feb. 8, 1973; Feb. 12, 1973; Feb. 14, 1973 (1973; fig. 2) is representative of these working drawings. Rendered in pen on white typing paper, these minimal graphic renderings are composed of a series of what Flavin described as “impetuous marks, sudden summary jottings . . . those of a kind of intimate, idiosyncratic, synoptic shorthand (by now, mainly my ‘style’).” 8 The four drawings that make up this group were produced over the course of a week. Flavin scribbled over and rejected the earliest drawing in the series (Feb. 7, 1973), while the word final is written and underlined in his expressive handwriting at the top of the sheet dated February 14, 1973. Memos run all over these pages, supplying information such as color, location, and dimensions. Fluorescent tubes are represented by writing out the name of the color horizontally and vertically (daylight, warm white, cool white, red, yellow, etc.), literally drawing with words. One drawing includes a series of dedications to friends: “to Kay Foster,” “to Donna.” Personal dedications were common in Flavin’s practice, referring not only to friends but also to art historical figures such as Barnett Newman and to political events, as in a 1970s drawing dedicated “to the young woman and men murdered in Kent State and Jackson State Universities and to their fellow students who are yet to be killed.” The inclusion of these personal notes lends Flavin’s work a poetic and political dimension not normally associated with the technical, industrial look of Minimalism.

Conceptual / Experiential

Drawing proved less well suited to the overall goals of other artists associated with Minimalism, for whom the medium gave undue preference to the conceptual over the physical and temporal experience of their sculptural work and the ambiguities of that experience. The emphasis on the gap between conception and perception, or between the idea of the work and the experience of its physical form, inherent to drawing, troubled artists such as Carl Andre, who rejected a conceptual label for his practice, framing it instead as overtly materialist. 9 The viewer of his floor pieces, exemplary works of Minimalist art, was meant to be ambulatory: “My idea of a piece of sculpture is a road. That is, a road doesn’t reveal itself at any particular point or from any particular point. . . . Most of my works—certainly the successful ones—have been ones that are in a way causeways—they cause you to make your way along them or around them or to move the spectator over them.” 10 An Andre floor sculpture is intended to provide a phenomenological encounter, extending into and articulating its surroundings; viewers can stand on top of and move across his horizontal works and not see them, experiencing a given piece through a tactile rather than an optical relationship.

Figure 3. Carl Andre, Blue Lock , 1966 Colored ink and felt-tip pen on graph paper, 8 3/4 x 9 3/4 inches (22.2 x 24.8 cm) Gift of Sally and Wynn Kramarsky, The Museum of Modern Art, New York Art © Carl Andre/Licensed by VAGA, New York, NY

Given the importance that he placed on both the materiality of the sculptural object and the viewer’s spatial encounter with it, Andre was resistant to resolving a given work in a single, fixed image, be it in the form of a preparatory drawing or an installation photograph. In Blue Lock (1966; fig. 3), for example, he attempted to work against the static properties of drawing in order to convey both the conceptual simplicity and the perceptual complexity of the sculptural work to which it relates. 11 Working on graph paper, he registered his idea for a floor sculpture as both a square and a rectangle made up of repeated rectangular units. In two adjacent grids he filled the regimented squares of the paper with handwritten letters that spell out the words lock and blue . Written in all caps, the letters run in multiple directions, suggesting manifold views—the viewer is compelled not only to read across the grids but also to turn the sheet around to view it from diverse vantage points. 12

Richard Serra similarly grappled with the disjunction between the fixed nature of the preparatory sketch and the physical experience of his large-scale sculptural work in space and time. Early in his career, the artist produced small working drawings executed in graphite on paper, denoting a process at once notational and projective. Untitled (Preliminary Drawing for L.A. County Museum) (1971; fig. 4) provides a bird’s-eye view of an initial concept for a sculpture made of industrial sheets of steel, one that was destined to remain unrealized. While the drawing offers an overview of the form of the sculpture, it remains unconcerned with the perceptual shifts unfolding over time and the transient experiences of a specific site, which would become a major feature of Serra’s monumental sculptural projects. 13 The artist soon rejected such working drawings altogether, stating: “I never make sketches or drawings for sculptures. I don’t work from an a priori concept or image. Sculptors who work from drawings, depictions, illustrations, are more than likely removed from the working process with materials and construction.” 14

Figure 4. Richard Serra, Untitled (Preliminary Drawing for L.A. County Museum) , 1971 Graphite on paper, 17 3/4 x 23 1/2 inches (45.1 x 59.7 cm) © 2012 Richard Serra / Artists Rights Society (ARS), New York

Figure 5. Richard Serra, Titled Arc , 1986 Oil crayon on paper, 19 x 24 1/2 inches (48.3 x 62.2 cm) © 2012 Richard Serra / Artists Rights Society (ARS), New York

Drawing would remain a fundamental practice for Serra nevertheless. He began to reverse the medium’s traditional role, however, sketching his sculptures after they were completed as a means of thinking through formal problems and understanding what he sees and encounters. 15 With Tilted Arc (1986; fig. 5), one in a series of sketches in notebooks made with oil crayon, drawing becomes a means to revisit a piece, in this case his work of public art of the same title constructed in 1981 at Federal Plaza in New York. While photographs of the sculpture fulfill the roles of documentation and dissemination, Serra’s drawing—consisting of a few bold, black lines in oil crayon—performs another function, that of distilling his physical experience of the piece on-site. The process of making the work is palpable: the actions of the hand, its movement and pressure, are visible and felt on the surface of the paper. Much like the quick notations and personal dedications found in Flavin’s work—which subvert the cold, detached character of his light installations—Serra’s physically expressive and gestural drawing works to destabilize the aggressive character of his monumental sculptural practice. Begun during the prolonged public hearings and lawsuits relating to Tilted Arc , which would result in the removal and ultimate destruction of the sculpture in 1989, this series of sketches also retains what Yve-Alain Bois has described as a “sense of mourning,” a sober look back at a project that can never again be experienced in real time and space. 16

Prescribed Procedures / Amorphous Results

By the late 1960s, the emphasis on materiality and physicality of experience, evinced in both Andre’s and Serra’s distinctive approaches to drawing and sculpture, was pervasive. Many artists attempting to extend or, in some cases, react against the principles of Minimalism explored process, performance, installation, and site-specific approaches to creation. Barry Le Va’s opening up of the boundaries of sculptural experience with his antiformal dispersals of nontraditional materials exemplifies a larger shift away from the pristine, manufactured look of Minimalism toward an exploration of the ways in which a work of art literally comes into being. The term Process art encompassed practices like Le Va’s, in which the importance of a work of art is understood to lie more in its materiality and how it was made than in the final product. Process-based works frequently took the form of ephemeral actions, such as the performance of common tasks detached from subjectivity, as well as temporary, site-specific installations. Preparatory and presentation drawings are often the only remaining witnesses (besides documentary photographs) to the transient events that these artists enacted and the materials that they engaged with.

Figure 6. Barry Le Va, Wash , 1969 Ink on graph paper mounted on paper, 18 1/2 x 22 inches (47 x 55.9 cm) © 2012 Barry Le Va

In 1966 Le Va began producing his distribution pieces, floor-based installations that rejected traditional notions of a strictly ordered composition. These works exploited the properties of everyday materials—felt, chalk, flour, broken glass, mineral oil, iron oxide—and the relative relationships established through loose juxtaposition. Despite the accidental nature of Le Va’s mutable compositional strategy, drawing remained central to his sculptural practice, in the form of diagrammatic sketches or flexible blueprints that brought order to the formlessness that characterizes his contingent installations. 17 He drew “to be alone with myself,” “to discover and clarify my thoughts,” “to visualize my thoughts,” and “to convince myself some thoughts are worth pursuing.” 18 Certainly one can detect a sense of disegno in his conception of drawing—that is, a projective and idealist belief in the medium as uniquely capable of revealing the artist’s mind at work and exposing the mechanism of the creative process. Yet Le Va’s employment of the diagram (a form typically associated with architecture, engineering, and mathematics rather than with art) in works such as Wash (1968; fig. 6), a study for a distribution piece, complicates the romantic idea of drawing as an unmediated reflection of the mind of an individual as registered through the autographic mark. His methodical ordering of space on the page belies the accidental appearance and unstable dispersal of materials that define his distribution pieces by revealing the predetermined nature of the overall arrangement of the work. 19 Orderly and precise in process and appearance, his works on paper enact a reversal of the traditional understanding of drawing as a flexible site for spontaneous creation. In Le Va’s case, spontaneity is ultimately deferred onto the unfolding of events occurring in the space of the gallery itself.

Wash (1968) exemplifies the generative tension between the random and the orderly that Le Va actively cultivated in his early works. The drawing includes passages of graph paper on which the artist first mapped out the distribution of pieces of felt and shards of glass. Le Va and many of his contemporaries frequently used graph paper, not so much for its look as for its suitability for the transfer of ideas into form. As the artist Mel Bochner reasoned, “graph paper reduces the tedious aspects of drawing, and permits the easy and immediate alignment of random thoughts into conventionalized patterns of reading and forming.” 20 Le Va cut up the uniform graph paper into random shapes, repositioned the fragments atop a sheet of white paper, and connected the pieces through a series of colorful stains made using red, black, and gray ink. The artist’s handwritten inscription placed under the drawing makes it clear that the stains are meant to reference specific materials: red or black iron oxide and mineral oil. This diagram was apparently never realized in sculptural form but is related to a series of impermanent installations that Le Va would complete at the Walker Art Center in Minneapolis in 1969. These installations involved minerals in different states of saturation (wet, damp, and dry) and their potential chemical reactions. Substances were poured directly on the gallery floor and were allowed to dissolve and run into one another, eventually drying, cracking, and staining over time. 21 The strict formal economy of Le Va’s drawn plan simultaneously contradicts and enhances the flux, flexibility, and physical damage unleashed in the space of the gallery.

Figure 7. William Anastasi, Untitled (Subway Drawing) , 1973 Graphite on paper, 7 5/8 x 11 1/8 inches (19.4 x 28.3 cm) Mildred Lane Kemper Art Museum, Washington University in St. Louis, Gift of Mr. and Mrs. Gary Wolff, 2011 © 2012 William Anastasi

Figure 8. William Anastasi, Untitled (Subway Drawing) , 2009 Graphite on paper, 8 x 11 1/2 inches (20.3 x 29.2 cm) © 2012 William Anastasi

William Anastasi’s subway drawings (figs. 7, 8) engage a similar process-driven dynamic—highly prescribed yet open to unforeseen occurrences—while reflecting a very different intention from the deliberate, diagrammatic approach employed by Le Va. Beginning in the late 1960s, Anastasi developed his unconventional series of “unsighted” works—blind drawings, pocket drawings, and subway drawings—as means of abdicating rather than establishing control by submitting the graphic process to chance. To create his ongoing series of subway drawings, he sits on a subway train, places a sheet of paper on a board on his lap, takes a pencil in each hand, rests the points on the paper, closes his eyes, dons headphones to block out all ambient sound, and lets the movement of his body in transit determine the composition of each work. Rather than relying on vision, he creates the work by assigning himself a simple task and arbitrary limits: each drawing is produced in the time it takes him to get from point A to point B on the subway and is finished when he gets off the train at a predetermined destination. By drawing blind and incorporating chance, Anastasi subverts the tradition of drawing as a synthesis of vision, knowledge, and manual skill.

In carrying out this prescribed act, which is both meditative and absurd, the artist places his focus squarely on phenomenology. Phenomenological impact became a key aspect in some strains of Minimalist sculptural production in the late 1960s as artists such as Carl Andre, Robert Morris, and Richard Serra were preoccupied not only with the process of production but also with how a work was perceived by the viewer in real time and space. 22 These artists often forced the spectator’s body into a confrontation with an object or a visual field as a form of defamiliarization, exhorting viewers to become conscious of their own processes of perception in order to see beyond the prevailing conventions of art. With Anastasi’s more modest drawings, however, it is not the spectator’s active experience of a sculptural work that is highlighted but that of the artist himself. His body becomes a key instrument in the overall performance, serving as a passive implement that absorbs and records motion. Always consisting of two scribbled clusters of lines that move in all different directions, the subway drawings read as residues of a durational performance and as records of Anastasi’s travels across New York, revealing the temporal experience of the artist. Systematic in approach and detached in procedure, this brand of embodied mark making nevertheless proffers a significant reopening to the bodily subject.

Rational / Anti-Rational

Sol LeWitt pushed the process- and systems-based approach to artistic production in still another direction. Rejecting any focus on the performing body of the artist, he elevated the working through of an idea to a position of importance, which he understood as equal to that of the resulting work. Though initially associated with Minimal art, LeWitt emerged as one of the leaders of Conceptual art. In his “Paragraphs on Conceptual Art” (1967), which became in effect a manifesto for the movement, he crystallized a radically divergent move in postwar art toward praxis as idea based: “If the artist carries through his idea and makes it into visible form, then all the steps in the process are of importance. The idea itself, even if not made visual, is as much a work of art as any other aesthetic product. All intervening steps—scribbles, sketches, drawings, failed works, models, studies, thoughts, conversations—are of interest.” 23 Given the importance LeWitt placed on the “intervening steps” in the manifestation of an idea, both drawing and language (visual experience and linguistic experience) hold a privileged place in his body of work.

Figure 9. Sol LeWitt, Three-Part Variations on Three Different Kinds of Cubes 331 , 1967 Ink and graphite on paper, 11 3/4 x 23 3/4 inches (29.8 x 60.3 cm) © 2012 The LeWitt Estate / Artists Rights Society (ARS), New York

Three-Part Variations on Three Different Kinds of Cubes 331 (1967; fig. 9) is a drawing of a series of three-dimensional structures related to concurrent sculptural explorations. LeWitt plotted different permutations on three-cube constructions or, as he wrote at the top of the drawing in capital letters: “three three-part variations in which the top and bottom cube have one side removed (3) while the middle cube is solid (1).” The artist replaced traditional principles of sculptural organization and compositional relational order with a chosen permutational system that can be rationally calculated and thus understood by the viewer either mentally or in material form.

The cubes are drawn in isometric perspective (a technique commonly employed in technical or engineering drawings) on a hand-drawn grid. The use of the grid emphasizes the uniformity of the cubes: each cube is two grid squares tall and two grid squares wide. The grid and the technical rendering give the appearance of an ordered sequence intended to provide objective visual information, expressing a universalizing vision of industrial-age perfection based on serial production. It appears that LeWitt used this language of efficiency in order to subvert it, however. 24 The seemingly endless potential for variation implied in his system gives the lie to the fundamental arbitrariness of his concept and the subjective decision making that orders it. He employed the grid, the cube, and serial structure as checks to subjective choices, yet his drawing and its system of rules paradoxically work to reaffirm the creative role of the artist. 25

Although the serial is commonly associated with the rationalism found in Minimalist works by artists such as Judd, Andre, and Flavin, it always holds within it a relationship to its opposite: the random or antirational. LeWitt acknowledged as much in his second text on Conceptual art, “Sentences on Conceptual Art” (1969), making a distinction between the logical approach of scientific or industrial production and that of aesthetic experience:

LeWitt uses the word irrational loosely in this text. Employed in this context as a means of signaling the polar opposite of rational judgment and sound logic, the term also implies a type of action that is completely beyond human control, a meaning that seems to move outside the bounds of the dichotomy that he strives to set up between the rational and the subjective. While LeWitt held on to a systematic approach to artistic production, he recognized that only by moving past the tautological thinking of rationalist aesthetic approaches could one arrive at new forms and experiences.

Figure 10. Eva Hesse, Untitled , 1967 Ink on graph paper, 11 x 8 1/2 inches (27.9 x 21.6 cm) © The Estate of Eva Hesse, Hauser & Wirth Zürich London

Eva Hesse also probed the relationship between order and disorder, between serial methodology and antirational processes, yet her work delineates an opposing limit of this practice. Although she was part of the circle of Minimalist and Conceptual artists who worked and socialized in New York in the 1960s and 1970s, her artistic production is often characterized as Postminimal, a term that acknowledges her move to open up the constrained structures of Minimalism by giving geometric form an organic and bodily dimension. Hesse’s work is notable for the way in which it implicates the body in new ways—the body understood as a psychic site rather than the neutral or passive one of Anastasi’s subway drawings and much Minimalist art. Drawing played a central part in this expansion of boundaries. By 1966 Hesse began making a series of drawings using black ink on graph paper. She worked with the controlled grid, but was equally interested in the potential for accident, embarking on what has frequently been described as a form of compulsive repetition and accumulation. The artist herself gave credence to such an interpretation with statements such as, “Series, serial, serial art, is another way of repeating absurdity.” 27 Her untitled drawing of 1967 (fig. 10) is exemplary of this series of works in which the basic element of the circle is repeated over and over to fill in the form of the grid. Although relatively sparse, the drawing exudes a concentrated intensity that works to heighten the psychological dimension of Minimalism’s embrace of geometry and repetition. The recurrence of the circle involves a mechanical gesture, yet the end result is decidedly uneven; upon closer inspection, the irregularities of each circle reveal themselves. Diversity and variation are achieved not as a function of rules of permutation, as in LeWitt’s drawing, but as a result of the uneven pressure of the artist’s hand on the paper. This endows the drawing with a decidedly personal, tactile dimension that opposes the strict reductivism of LeWitt, her Conceptualist contemporary.

Minimal and Conceptual Drawing and its Legacy

Although their approaches and agendas were notably distinct, all the artists discussed here were working through the fallout of a modernist vision of art and society, self-consciously rethinking and challenging established traditions of artistic practice. Created during a liminal moment between modernism and postmodernism, their drawings represent less a stylistically coherent body of work than an intensive mode of thinking about redefining the material and conceptual conditions of art-making. While attempting to move away from the emotive claims of their Abstract Expressionist predecessors, artists associated with Minimal, Postminimal, and Conceptual practices wanted to uphold the freedom of experimentation with form and materials initiated by artists such as Jackson Pollock. The climate of analysis and material experimentation of the 1960s and 1970s in the United States not only addressed the artwork and standards of artistic production but also extended to the critique of institutions, the role of the artist and audience, the dissemination of artworks in the market, and the industrial conditions of modern society. 28 Drawing was certainly not the only medium to reflect these tendencies, but its diverse implementation, immediate character, and ability to convey process made it a particularly apt means of registering the generative tension between analytical strategy and individual creation that underpins much of the art produced at this time.

Figure 11. N. Dash, Commuter , 2011 Graphite on paper, 14 3/4 x 9 3/4 inches (37.5 x 24.8 cm) © 2012 N. Dash

In the four decades since the 1970s, several significant paradigm shifts have reshaped the political and social world in which we live, including the rapid rise of the digital age and an increased global connectedness accompanied by greater mobility, standardization, and homogenization. Art has continued to adapt to these new conditions. Many of the issues that motivated the artistic struggle to work through and against modernist endgames—the idea that art is predicated on a progressive model of invention or the essentialist notion that something like the absolute essence of painting or sculpture exists—are of little interest to subsequent generations of artists. 29 They no longer feel compelled to grapple with the rules of such a limited approach; nor are they constrained by postmodernism’s negative and nostalgic appraisal of the modernist past. Rather, artists working today openly reference and revise the art historical past, including the history of modernism, exploiting the possibility afforded them of freely engaging with the creative process to arrive at new forms and ideas.

Figure 12. Jill O’Bryan, 40,000 Breaths Breathed Between June 20, 2000 and March 15, 2005 , 2000-05 Graphite on paper, 60 x 60 inches (152.4 x 152.4 cm) © 2012 Jill O’Bryan

The artists N. Dash and Jill O’Bryan, for instance, adopt a range of modernist strategies, including repetitive and serial processes as well as body and performance art, all of which emerged in the 1960s and early 1970s. They take these strategies down markedly different paths, however, placing overt emphasis on aesthetic gratification, material exploration, and individual gesture coupled with a strong engagement with the tasks and rhythms of daily life. Rather than explicitly linking the practice of drawing to large-scale sculptural installations and other conceptual projects—as was the case in the work of Flavin, Serra, Le Va, and LeWitt—both artists embark on highly hermetic forms of creation through which the properties of drawing are probed and developed. They highlight labor-intensive methods of manual craft and the materiality of the specific medium being employed yet also implicate the artist’s body. N. Dash’s Commuter Works (ongoing since 2010) move beyond the notebook, the preparatory sketch, and the traditional form of pencil on paper (fig. 11). Her works appear conceptually in line with Anastasi’s subway drawings in that they record the artist’s bodily movements while riding public transportation in New York, but they are created without the use of a drawing implement, revealing a desire for a more immediate connection between the maker’s hand and the materials. Dash produces these works by folding, rubbing, creasing, and refolding sheets of paper and then applying pigment (graphite or indigo powder) to them by hand in order to highlight the progressive accumulation of wrinkles and marks. Her practice is based less on an exploration of automatic processes, chance occurrences, or a sublimation of the subjective self, as are Anastasi’s subway drawings, and more on an examination of the means by which bodily expression can be embedded into the support materials associated with painting, sculpture, and drawing. Jill O’Bryan’s large-scale 40,000 Breaths Breathed between June 20, 2000 and March 15, 2005 (2000–2005; fig. 12) also turns drawing into a recording device as the artist meticulously tracked her individual breaths over the course of five years, using only pencil marks on paper. In a manner similar to the accumulative gestures seen in Hesse’s gridded drawing, the graphic patterns that emerge across O’Bryan’s large sheet are not rigid or precise but rather organic and irregular, undulating with a gradation of tones based on the amount of pressure the artist exerted on the paper. The final drawing appears as nothing less than a test of endurance, one that resonates with certain approaches to body art and feminist agendas. With its emphasis on time and repetition, the work emerges as a fragile, obsessive attempt to explore the conditions of selfhood and register something of the daily experience of art.

Figure 13. Janet Cohen, San Francisco at New York, 10-8-2000, Mets win 4-0 , 2004 Graphite on paper, 9 1/4 x 13 inches (23.5 x 33 cm) © Janet Cohen, 2004

Janet Cohen’s ongoing practice of meticulously charting popular activities such as the seemingly random events of a baseball game offers yet another variation on this internal and indexical approach to mark making, one that appears to speak simultaneously to the fragmentation of contemporary life and nostalgia for a sense of completeness. Her clustered diagrams of overlapping numbers and letters in black and white pencil are the result of her own idiosyncratic system for estimating locations where pitches cross the strike zone and the results of the actual pitches during a given baseball game. Works such as San Francisco at New York, 10-8-2000, Mets win 4–0 (2004; fig. 13) exist as both abstract representations of these events and as highly individual catalogs of time and thought whose underlying system is understood by the artist alone.

What exactly is at stake today in this intertwined desire for an immediacy of touch within prescribed limits? Marking up a blank piece of paper—experiencing a concrete and immediate way of making art within an evolving digital landscape that often removes us from experiencing “the real” and ourselves—appears to offer itself as an inherently human activity. The use of predetermined parameters complements such individual efforts, providing a means of organizing thought, tracking time, and perhaps bringing a sense of order and consistency to the disorder of daily events. Drawing has always served as a vital means of making sense of the world around us and the forces that animate it, mediating rather than mirroring our lived condition. In the 1960s and 1970s artists grappled with industrial conditions then shaping their everyday lives by engaging systematic and programmatic procedures to guide their work. In many instances, the pronounced engagement with seriality and repetitive marking, charting, and diagramming offered a means not of adopting the rational logic of industry but of highlighting art’s potential escape from it. It seems apt in today’s contemporary climate of ongoing upheaval and perpetual advancement of digital technologies that the desire to draw, to mark, to track is embraced by artists who, much like their historical predecessors, seek to expand the capacities for invention while working to regain a sense of human experience.

1. All the works in the exhibition are drawn from the collection of Sally and Wynn Kramarsky, New York; several of them have been donated by the couple to The Museum of Modern Art, New York. Over the past few decades, the Kramarskys have amassed a collection that provides an impressive overview of canonical Minimal, Postminimal, and Conceptual art, while continuing to collect works by emerging artists whose work is in line with this core aesthetic. 2. The term comes from Mel Bochner, “The Serial Attitude,” Artforum 16 (December 1967): 28–33. 3. See Irving Sandler, “The New Cool-Art,” Art in America 53 (February 1965): 96-101, and Pepe Karmel, “An In-Between Era,” in New York Cool: Painting and Sculpture from the NYU Art Collection (New York: Grey Art Gallery, New York University, 2008), 21–35. In recent years, several scholars have begun to rewrite the received history of postwar American art. See, for example, Catherine Craft, An Audience of Artists: Dada, Neo-Dada, and the Emergence of Abstract Expressionism (Chicago: University of Chicago Press, 2012). 4. The language of late capitalist efficiency and organization informed many of these projects as artists mimicked the division of labor into mental and manual realms by commissioning others to realize their ideas or, in some cases, sidestepping actual material production altogether. For an in-depth analysis of the relationship between artistic production, labor, and the shifting socioeconomic context in 1960s America, see Helen Molesworth, Work Ethic (Baltimore: Baltimore Museum of Art, 2003), and Julia Bryan-Wilson, Art Workers: Radical Practice in the Vietnam War Era (Berkeley: University of California Press, 2009). 5. Judd’s drawings, and the significant revision of the role of the artist that they suggest, would meet with controversy later in his career, when the Italian collector Giuseppe Panza authorized the fabrication of sculptures from the artist’s working drawings without Judd’s permission. Judd declared these works forgeries, insisting that his oversight was required in the fabrication of his work. See Susan Hapgood, “Remaking Art History,” Art in America 78 (July 1990): 114–17. See also Molesworth, Work Ethic , 163. 6. Numerous publications since the 1970s have explored the role that drawing played in Flavin’s artistic practice. See Emily S. Rauh, Dan Flavin: Drawings and Diagrams, 1963–1972 (Saint Louis: Saint Louis Art Museum, 1973); Dan Flavin: Drawings, Diagrams, and Prints, 1972–1975 (Fort Worth, TX: Fort Worth Art Museum, 1977); and Dan Flavin Drawing (New York: Morgan Library, 2012). 7. Briony Fer, “Nocturama: Flavin’s Light Diagrams,” in Dan Flavin: New Light , ed. Jeffrey Weiss (Washington, DC: National Gallery of Art, 2006), 46. 8. Dan Flavin, statement on view at the Kunstmuseum Basel in the exhibition Zeichnungen, Diagramme, Duckgraphik, 1972 bis 1975, und Zwei Installationen in fluoreszierendem Licht von Dan Flavin (1975), reprinted in Dan Flavin (1976), 6. 9. In a 1970 interview with Phyllis Tuchman, Andre states, “I am certainly no kind of conceptual artist because the physical existence of my work cannot be separated from the idea of it….My art springs from my desire to have things in the world which would otherwise never be there.” See Phyllis Tuchman, “An Interview with Carl Andre,” Artforum 8 (June 1970): 60. 10. Andre, ibid., 57. 11. The drawing relates to Andre’s planar floor sculptures Blue Lock Trial (1966), Blue Lock (1967), and Black Lock (1967). The latter two works have since been destroyed. 12. Christine Mehring provides a compelling reading of this drawing. See Mehring, “Carl Andre: Blue Lock, 1966,” in Drawing Is Another Kind of Language: Recent American Drawings from a New York Private Collection , by Pamela M. Lee and Christine Mehring (Cambridge, MA: Harvard University Art Museums, 1997), 28–29. 13. Yve-Alain Bois, “Descriptions, Situations, and Echoes: On Richard Serra’s Drawings,” in Richard Serra: Drawings, Zeichnungen, 1969–1990 (Bern, Switzerland: Bentelli, 1990), 17. 14. Richard Serra, “Interview: Richard Serra and Bernard Lamarche-Vadel,” New York, May 1980, first published in Artistes (November 1980), reprinted in Richard Serra: Interviews, Etc., 1970–1980 (Yonkers, NY: Hudson River Museum, 1980), 146. 15. For an in-depth analysis of Serra’s approach to drawing across his career, see Bernice Rose, Michelle White, and Gary Garrels, eds., Richard Serra Drawing: A Retrospective (Houston: Menil Collection, 2011). 16. Bois, “Descriptions, Situations, and Echoes,” 28. 17. Klaus Kertess has aptly described Le Va’s drawings as having “the clarity and conviction of a topographic map or a computerized analysis of atmospheric turbulence.” See Klaus Kertess, “Between the Lines: The Drawings of Barry Le Va,” in Barry Le Va, 1966–1988 (Pittsburgh: Carnegie Mellon Art Gallery, 1988), 27. 18. Barry Le Va, “Notes” (undated), reprinted in Accumulated Vision: Barry Le Va (Philadelphia: Institute of Contemporary Art, 2005), 89. 19. Ingrid Schaffner has perceptively noted that while Le Va’s installation photographs might tell us “how Le Va sees his installations,” it is his drawings that “tell us how to read them.” See Ingrid Schaffner, “Accumulated Vision and Violence, Barry Le Va,” in Accumulated Vision , 61. 20. Mel Bochner, “Anyone Can Learn to Draw,” press release for Drawings , Galerie Heiner Friedrich, Munich, 1969, reprinted in Bochner, Solar System & Rest Rooms: Writings and Interviews, 1965–2007 (Cambridge, MA: MIT Press, 2008), 61. 21. Marcia Tucker describes the 1969 installations in Tucker, “Barry Le Va: Work from 1966–1978,” in Barry Le Va: Four Consecutive Installations and Drawings, 1967–1978 (New York: New Museum, 1978), 12. For photographs of the installation, see ibid., 24, 25. 22. See particularly Robert Morris’s series of essays, “Notes on Sculpture” (February 1966) and “Notes on Sculpture, Part II” (October 1966), reprinted in Continuous Project Altered Daily: The Writings of Robert Morris (Cambridge, MA: MIT Press, 1993). 23. Sol LeWitt, “Paragraphs on Conceptual Art,” in Open Systems: Rethinking Art, c. 1970 , ed. Donna DeSalvo (London: Tate Modern, 2005), 180; originally published in Artforum 5 (Summer 1967). 24. James Meyer, Minimalism: Art and Polemics in the Sixties (New Haven, CT: Yale University Press, 2001), 187. 25. In the 1960s LeWitt was attracted to the cube and the square as “grammatical devices from which the work may proceed.” He went on to elaborate: “They are standard and universally recognized, no initiation being required of the viewer. . . . The use of a square or cube obviates the necessity of inventing other forms and reserves their use for invention.” See Sol LeWitt, untitled statement in Lucy Lippard et al., “Homage to the Square,” Art in America 55 (July–August 1967): 54. 26. LeWitt, “Sentences on Conceptual Art,” in Sol LeWitt: Critical Texts , ed. Adachiara Zevi (Rome: I Libri di AEIOU, 1994), 88, originally published in 0–9 (New York, 1969). 27. Eva Hesse, quoted in Lucy Lippard, Eva Hesse (New York: De Capo, 1976), 96. 28. Josef Helfenstein, “Concept, Process, Dematerialization: Reflections on the Role of Drawings in Recent Art,” in Drawings of Choice from a New York Collection , ed. Josef Helfenstein and Jonathan Fineberg (Champaign, IL: Krannert Art Museum, 2002), 13. 29. Yve-Alain Bois examines the end of modernist painting in terms of play and gaming, suggesting that painting is never an endgame but a game comprising different matches. See Yve-Alain Bois, Painting as Model (Cambridge, MA: MIT Press, 1990), 241–42. Jordan Kantor also takes up Bois’s analogy in her essay “Drawing from the Modern: After the Endgames,” in Drawing from the Modern, 1975–2005 (New York: Museum of Modern Art, 2005), 53–54.

• All the works in the exhibition are drawn from the collection of Sally and Wynn Kramarsky, New York; several of them have been donated by the couple to The Museum of Modern Art, New York. Over the past few decades, the Kramarskys have amassed a collection that provides an impressive overview of canonical Minimal, Postminimal, and Conceptual art, while continuing to collect works by emerging artists whose work is in line with this core aesthetic.
• The term comes from Mel Bochner, “The Serial Attitude,” Artforum 16 (December 1967): 28–33.
• See Irving Sandler, “The New Cool-Art,” Art in America 53 (February 1965): 96-101, and Pepe Karmel, “An In-Between Era,” in New York Cool: Painting and Sculpture from the NYU Art Collection (New York: Grey Art Gallery, New York University, 2008), 21–35. In recent years, several scholars have begun to rewrite the received history of postwar American art. See, for example, Catherine Craft, An Audience of Artists: Dada, Neo-Dada, and the Emergence of Abstract Expressionism (Chicago: University of Chicago Press, 2012).
• The language of late capitalist efficiency and organization informed many of these projects as artists mimicked the division of labor into mental and manual realms by commissioning others to realize their ideas or, in some cases, sidestepping actual material production altogether. For an in-depth analysis of the relationship between artistic production, labor, and the shifting socioeconomic context in 1960s America, see Helen Molesworth, Work Ethic (Baltimore: Baltimore Museum of Art, 2003), and Julia Bryan-Wilson, Art Workers: Radical Practice in the Vietnam War Era (Berkeley: University of California Press, 2009).
• Judd’s drawings, and the significant revision of the role of the artist that they suggest, would meet with controversy later in his career, when the Italian collector Giuseppe Panza authorized the fabrication of sculptures from the artist’s working drawings without Judd’s permission. Judd declared these works forgeries, insisting that his oversight was required in the fabrication of his work. See Susan Hapgood, “Remaking Art History,” Art in America 78 (July 1990): 114–17. See also Molesworth, Work Ethic , 163.
• Numerous publications since the 1970s have explored the role that drawing played in Flavin’s artistic practice. See Emily S. Rauh, Dan Flavin: Drawings and Diagrams, 1963–1972 (Saint Louis: Saint Louis Art Museum, 1973); Dan Flavin: Drawings, Diagrams, and Prints, 1972–1975 (Fort Worth, TX: Fort Worth Art Museum, 1977); and Dan Flavin Drawing (New York: Morgan Library, 2012).
• Briony Fer, “Nocturama: Flavin’s Light Diagrams,” in Dan Flavin: New Light , ed. Jeffrey Weiss (Washington, DC: National Gallery of Art, 2006), 46.
• Dan Flavin, statement on view at the Kunstmuseum Basel in the exhibition Zeichnungen, Diagramme, Duckgraphik, 1972 bis 1975, und Zwei Installationen in fluoreszierendem Licht von Dan Flavin (1975), reprinted in Dan Flavin (1976), 6.
• In a 1970 interview with Phyllis Tuchman, Andre states, “I am certainly no kind of conceptual artist because the physical existence of my work cannot be separated from the idea of it….My art springs from my desire to have things in the world which would otherwise never be there.” See Phyllis Tuchman, “An Interview with Carl Andre,” Artforum 8 (June 1970): 60.
• Andre in Tuchman, “An Interview,” 57.
• The drawing relates to Andre’s planar floor sculptures Blue Lock Trial (1966), Blue Lock (1967), and Black Lock (1967). The latter two works have since been destroyed.
• Christine Mehring provides a compelling reading of this drawing. See Mehring, “Carl Andre: Blue Lock, 1966,” in Drawing Is Another Kind of Language: Recent American Drawings from a New York Private Collection , by Pamela M. Lee and Christine Mehring (Cambridge, MA: Harvard University Art Museums, 1997), 28–29.
• Yve-Alain Bois, “Descriptions, Situations, and Echoes: On Richard Serra’s Drawings,” in Richard Serra: Drawings, Zeichnungen, 1969–1990 (Bern, Switzerland: Bentelli, 1990), 17.
• Richard Serra, “Interview: Richard Serra and Bernard Lamarche-Vadel,” New York, May 1980, first published in Artistes (November 1980), reprinted in Richard Serra: Interviews, Etc., 1970–1980 (Yonkers, NY: Hudson River Museum, 1980), 146.
• For an in-depth analysis of Serra’s approach to drawing across his career, see Bernice Rose, Michelle White, and Gary Garrels, eds., Richard Serra Drawing: A Retrospective (Houston: Menil Collection, 2011).
• Bois, “Descriptions, Situations, and Echoes,” 28.
• Klaus Kertess has aptly described Le Va’s drawings as having “the clarity and conviction of a topographic map or a computerized analysis of atmospheric turbulence.” See Klaus Kertess, “Between the Lines: The Drawings of Barry Le Va,” in Barry Le Va, 1966–1988 (Pittsburgh: Carnegie Mellon Art Gallery, 1988), 27.
• Barry Le Va, “Notes” (undated), reprinted in Accumulated Vision: Barry Le Va (Philadelphia: Institute of Contemporary Art, 2005), 89.
• Ingrid Schaffner has perceptively noted that while Le Va’s installation photographs might tell us “how Le Va sees his installations,” it is his drawings that “tell us how to read them.” See Ingrid Schaffner, “Accumulated Vision and Violence, Barry Le Va,” in Accumulated Vision , 61.
• Mel Bochner, “Anyone Can Learn to Draw,” press release for Drawings , Galerie Heiner Friedrich, Munich, 1969, reprinted in Bochner, Solar System & Rest Rooms: Writings and Interviews, 1965–2007 (Cambridge, MA: MIT Press, 2008), 61.
• Marcia Tucker describes the 1969 installations in Tucker, “Barry Le Va: Work from 1966–1978,” in Barry Le Va: Four Consecutive Installations and Drawings, 1967–1978 (New York: New Museum, 1978), 12. For photographs of the installation, see ibid., 24, 25.
• See particularly Robert Morris’s series of essays, “Notes on Sculpture” (February 1966) and “Notes on Sculpture, Part II” (October 1966), reprinted in Continuous Project Altered Daily: The Writings of Robert Morris (Cambridge, MA: MIT Press, 1993).
• Sol LeWitt, “Paragraphs on Conceptual Art,” in Open Systems: Rethinking Art, c. 1970 , ed. Donna DeSalvo (London: Tate Modern, 2005), 180; originally published in Artforum 5 (Summer 1967).
• James Meyer, Minimalism: Art and Polemics in the Sixties (New Haven, CT: Yale University Press, 2001), 187.
• In the 1960s LeWitt was attracted to the cube and the square as “grammatical devices from which the work may proceed.” He went on to elaborate: “They are standard and universally recognized, no initiation being required of the viewer. . . . The use of a square or cube obviates the necessity of inventing other forms and reserves their use for invention.” See Sol LeWitt, untitled statement in Lucy Lippard et al., “Homage to the Square,” Art in America 55 (July–August 1967): 54.
• LeWitt, “Sentences on Conceptual Art,” in Sol LeWitt: Critical Texts , ed. Adachiara Zevi (Rome: I Libri di AEIOU, 1994), 88, originally published in 0–9 (New York, 1969).
• Eva Hesse, quoted in Lucy Lippard, Eva Hesse (New York: De Capo, 1976), 96.
• Josef Helfenstein, “Concept, Process, Dematerialization: Reflections on the Role of Drawings in Recent Art,” in Drawings of Choice from a New York Collection , ed. Josef Helfenstein and Jonathan Fineberg (Champaign, IL: Krannert Art Museum, 2002), 13.
• Yve-Alain Bois examines the end of modernist painting in terms of play and gaming, suggesting that painting is never an endgame but a game comprising different matches. See Yve-Alain Bois, Painting as Model (Cambridge, MA: MIT Press, 1990), 241–42. Jordan Kantor also takes up Bois’s analogy in her essay “Drawing from the Modern: After the Endgames,” in Drawing from the Modern, 1975–2005 (New York: Museum of Modern Art, 2005), 53–54.
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Essay on My Hobby Drawing

Hobby is an activity which we do to pass time with enjoyment. Basically, when we are free of our regular activities, we do something which we enjoy. This is called hobby.

We can get mental peace from doing the works we love. They help to add some more knowledge and skills to our past knowledge. A sport like playing football helps one to attain physical development. It develops a sense of team spirit in a person.

I love to draw my mother and father’s pictures on my notebook. They are my favourite drawings. I also love to paint fruits like mango, orange and banana. My mother motivates me to draw more and more. In my school also, everyone loves my drawings. Whenever there is a school competition, my teachers call me to participate. In my home, there is a small room made by my father. In that room, I have kept all the pictures which I have drawn. I have drawn mango, cow, apple, banana and many more.

My mother and father always help me in getting coloured pencils, sketch pens etc. They become very happy because I do not waste time and do my drawing in free time.

Table of Contents

Is drawing good for your brain?

Drawing increase brain function. Art play an important role in mental development and it increases the creative skills of the mind.

Drawing Can Change Your Brain 

It increases creative skill, relaxes the mind. It makes you more happy and resilient. It also improves your memory.

Related Posts:

Essay Drawing

Introduction

A kid’s first introduction to drawing happens when they read books, where they see many pictures in vibrant colours. When we give a crayon or pencil to a small kid, they try to draw these pictures. But their scribbling does not make any sense to us. Although the kids’ drawing may not have any shape or it only represents a single line, this is their initial step towards drawing.

Young children draw in different ways, and each of them has its distinct characteristics. While some may grow up to become great artists, we cannot deny the fact that all of us had drawing as a favourite pastime during our childhood. In this short essay about drawing, we will discuss how children develop a fancy towards drawing and how it helps in their growth.

Drawing as a Hobby

As children grow up and start picking things, we give them colouring books and crayons to engage them. At first, their colouring may not be perfect as they will mix up colours, and it may go out of the boundaries. But gradually, they will learn to hold a crayon and carefully colour the pictures. During a later stage of their growth, we replace colouring books with drawing books, and they start drawing lines, shapes and pictures. It is from this point that children take drawing as a hobby, and this short essay about drawing will discuss its benefits and importance.

Kids might begin drawing simple objects that they see around. Sometimes, it’s a flower, house, tree or car. Later on, they start drawing people and buildings. Eventually, they draw something from their imagination, for which we will have to give them a new name. This is how drawing as a hobby motivates kids to think beyond their capabilities and give an artistic form to their ideas.

Importance of Drawing

Although we indulge kids in drawing to occupy themselves, it has far more advantages than we see, which this essay drawing deals with. While kids have to learn many subjects, drawing gives them a respite from all the tensions and worries as they lose themselves in a different world. It is a great way to fight boredom and find relaxation as well.

In terms of skills, drawing enables kids to develop fine motor skills. As drawing involves fingers, hands and wrists, kids will be able to improve their motor skills easily. Besides, children will be able to grasp concepts quickly through drawing. Suppose you need to teach the difference between big and small or tall and short. With the help of drawing, you can simply show them the difference, and your kids will start differentiating them while creating pictures. Drawing can also enhance the concentration of children. As they tend to observe the minutest details, we can see that kids try to give details to their drawing, and this, in turn, helps them to focus better. Thus, this short essay about drawing from BYJU’S will be useful to teach children how drawing is the best way to boost their creativity and imagination.

What are some of the ways to improve kids’ drawing skills?

The only way to improve your kid’s drawing skills is to practise every day. We must not force children to create perfect drawings. Instead, we can encourage them to draw whatever comes to their mind. If your child finds it difficult to draw, ask them to indulge in freehand drawing or trace pictures from books. In this way, we can improve their drawing skills.

How does drawing contribute to a child’s development?

Drawing is an effective way to develop children’s fine motor skills and creativity, as they will be using their hands and minds to draw on paper. Moreover, they will retain their focus, as they will be concentrating on their art.

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Sports Betting

Spain vs. England Euro 2024 final odds: Spain favored to win for the fourth time

The Euro 2024 final is set and Spain is the favorite heading into Sunday’s meeting with England. The Spaniards emerged as the tournament favorite after beating Germany in a quarterfinal and remain the favorite after getting by France in a semifinal.

England was the favorite once the knockout stage started. The Three Lions had a less difficult path to the final, but did come from behind to beat the Netherlands in Wednesday’s semifinal.

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With a win, Spain would become the nation with the most European championships. Spain and Germany both have won the title three times. Spain’s previous wins came in 1964 (at home), 2008 and 2012.

England has never won at the Euros, but is making a second straight appearance in the final. England lost in penalties to Italy at Wembley Stadium in London three years ago.

All odds from BetMGM . Odds to win or draw are over 90 minutes.

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Spain vs. England

Regular time odds:

This match is a meeting of two teams that got to the final in opposite ways.

Spain cruised through the group stage with three wins, the only team in the tournament to do so. The quarterfinal win against Germany required extra time, but wins against Georgia and France were more convincing. On pure aesthetics, Spain has been one of the most entertaining teams to watch and it’s easy to argue Spain has looked like the best team throughout.

Meanwhile, England labored throughout the tournament to get here. The Three Lions beat Serbia 1-0 in their opener, but were unimpressive in draws against Slovenia and Denmark to close out group play. Then, England trailed for over an hour against Slovakia and needed a 95th minute goal from Jude Bellingham to force extra time in that match. In the quarterfinals, Switzerland took the lead in the 75th minute, but England answered again and eventually won in penalties. The Netherlands scored first in the semifinal, but Ollie Watkins produced a 90th-minute winner.

England trailed in all three knockout games and won only two of its six matches inside 90 minutes. Manager Gareth Southgate has been under pressure for the English being defensive and mostly uninteresting to watch, but the results have been good enough.

In some ways, England is similar to Spain’s semifinal opponent, France. France is an incredibly talented side that has had fantastic results in recent years, but struggled to score and was, to put it bluntly, not interesting to watch considering the ability on the squad. England has made semifinals at three of the past four major tournaments and has a talented squad on paper, but has also been downright dull to watch for much of this tournament. England probably played its best game of the tournament against the Dutch, but Spain is a step up in level of competition.

It’s a one-match final between two of the powers in the sport so Spain isn’t a massive favorite, but the odds clearly favor Spain. This is not viewed as a toss-up. Spain is a bigger favorite against England than it was against France (and a bigger favorite than England was against the Netherlands). This is the first time this tournament that England has not been favored.

More Euro 2024 coverage

Spain take risks and reap the rewards – it’s what makes them so different at Euro 2024

Ollie Watkins ‘lost for words’ after sending England to Euro 2024 final: ‘It’s the best feeling ever’

Dani Olmo, Spain’s shy Euro 2024 Golden Boot leader and €60m summer transfer target

Late substitute Watkins hits winner to set up Euro 2024 final with Spain

(Photo of Nico Williams: Justin Setterfield / Getty Images)

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Dan Santaromita is a senior editor for sports betting at The Athletic. Dan previously wrote for NBC Sports Chicago and ProSoccerUSA. He is a University of Missouri graduate who resides in Chicago. Follow Dan on Twitter @ TheDanSanto