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The article looks at the technique of foreshortening in drawing and painting, focusing on geometric solids, lines of action, and the picture plane. Strategies for drawing a foreshortened subject include taking into consideration the perspective, simplifying the figure, and focusing on practice. Details relating to how to draw foreshortened limbs is also addressed.

Presents an article on the approach in making tinted portrait with the use of colored pencils. Selection of the tinted paper to use for the portrait; Approach in posing the subject; Guidelines in drawing the portrait.

The article describes the approaches used by three watercolor illustrators when working on children's books. U.S. artist Emily Arnold McCully shares that she plans her color for a drawing while she works intuitively. On the other hand, Tom Shefelman always studies his subjects before he begins drawing the actual images on the books.

An interview with American illustrator Brad Holland is presented. When asked whether he initially visualizes the image before beginning to draw, he states that he taps the non-verbal side of his brain and let his doodling flow naturally. He claims that he is unable to name any particular artist that influenced him and that he imagines he is the character he draws. He also believes that drawings are feelings expressed in another form which can stand alone and convey its meaning without the aid of writing.

The article focuses on Tracy Montminy, an American landscape and mural painter. Montminy exercises cautiousness in doing religious themes as she avoids endorsing any sect in communicating the core of spiritual experiences. How Montminy approaches her drawings for the murals is explained. The article also discusses how her drawings such as "Standing Woman," "Indian Pulling a Boat" and "British Soldier Shooting a Rifle" illustrates the essentials of form, structure, and volume.

The article focuses on the art colonies and sketching grounds of the Pacific Coast in the U.S. It offers information on the drawings etched by Roi Partridge, along with the sketch map of the Pacific Coast. It cites the Carmel place in California which is considered as an art colony and a supporter an art gallery. Moreover, Carmel place's shopping stores and hotels continue to operate.

The article discusses the pictorial record of the development of Romano Dazzi, a genius Italian boy in Rome, Italy. It states that Dazzi has sixty-five pencil drawings covering a period of twelve years from age five to seventeen. It notes that Romano attended no art school nor did worked under the direction of a master. It mentions that the World War has taught Romano on how to make pictures because he translated those scenes and events of the war into art.

The article features American illustrator Mario Cooper. He studied under Harvey Dunn at Grand Central School of Art and continues to reflect Dunn's idealism in his work. Cooper's design and craftsmanship and his drawings of women are described as exquisite with grace that comes from an appreciative eye and a rare facile brush. It cites his use of photographs that contribute only to factual information without helping much in the final expression. Cooper lives in Port Washington with his wife Aileen Anita Whetstine and children Vincent and Patricia.

The article highlights artist Helen Loggie's portfolio of tree drawings. Observation on the portfolio shows that the trees are buffeted by winds and are surrounded with grasses and ferns, weeds and flowers. A study of the original drawings by Loggie also reveals the compelling magnetism and fine orchestration of her drawings. Speaking about the subject of drawings and art, Loggie believes that art can be an interpretation of the philosophy of life and a manifestation of an ideal.

The article explores the sketchbooks of Robert Conlan. It analyzes the strategies used in the artist's sketchbooks. It also examines the subject matter presented in the sketchbooks and the media used by Conlan, including pen and ink, line and wash and felt-nib pen. Drawings featured in some of Conlan's sketchbooks are also presented.

The article offers tips on sketching. The pencil, pen and ink with wash, watercolor and brush and ink are four common media for sketching. According to the authors, an artist needs to look at what he intends to draw, attempting to understand the scene's meaning. They emphasizes that sketching is a communication, hence artists need to be certain of their graphic enunciation. Several sketching works by the authors are also presented.

The author discusses the career and artworks of Indiana-based painter Edmund Brucker. A graduate of Cleveland Art School in Ohio, his sense of form and line methods for his drawings have been influenced by Russian artist Alexandre Jacovleff. It is noted that his upbringing from a semi-rural background contributed to his selection of animals as subjects for his drawings.

Several images are presented which include the animated portrait by James Lewicki, the convincing figure treatment by Freda Leibovitz, and the telling landscape sketch by G. Forrester Meyerriecks.

The author considers drawing as one of the most important tool of a painter. He relates that all his works are produced from memory, which is aided by the notes he made. He explains why he uses drawing and its element to express ideas and experiences. His technical procedure in drawing is also discussed, including the materials and method of work.