Henry Moore Study for Tube Shelter Perspective 1940

Henry Moore. Study for Tube Shelter Perspective. 1940– 1941. Pencil, wax crayon, colored crayon, watercolor, wash, pen and ink, Conté crayon on wove paper. 8" × 6 -1/2". Reproduced by permission of The Henry Moore Foundation. © The Henry Moore Foundation. All Rights Reserved, DACS 2013/www. henry-moore. org. [Fig. 6 -1]

Leonardo da Vinci. Facial Proportions of a Man in Profile. 1490– 1495. Brown ink, charcoal, and red chalk. 11" × 8 -3/4". Academia Venice. © 2013. Photo Scala, Florence—courtesy of the Ministero Beni e Att. Culturali. [Fig. 6 -2]

Guillermo del Toro. Pages from sketchbook. 2006. Pan's Labyrinth. © MMVi. New Line Productions Inc. Photo appears courtesy of New Line Cinema/ Time Warner. [Fig. 6 -3]

Martín Ramírez. Untitled No. 111 (Train and Tunnel). c. 1960– 1963. Gouache, colored pencil, and graphite on pieced paper. 15" × 31". © Estate of the artist. [Fig. 6 -4]

Vincent van Gogh. Carpenter. c. 1880. Black crayon. 22" × 15". Kröller-Mu ller Museum, Otterlo, Netherlands. [Fig. 6 -5]

Vincent van Gogh. Old Man with His Head in His Hands. 1882. Pencil on paper. 19 -11/16" × 12 -3/16". Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). [Fig. 6 -6]

Vincent van Gogh. Self-Portrait with Felt Hat. 1888. Oil on canvas. 17 -1/4" × 14 -3/4". Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). [Fig. 6 -7]

Vincent van Gogh. Trees with Ivy in the Asylum Garden. 1890. Reed pen and pen in ink on cream wove paper. 24 -1/2" × 18 -1/2". Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). [Fig. 6 -8]

Michelangelo Buonarroti. Study of a Reclining Male Nude. c. 1511. Red chalk over stylus underdrawing. 7 -5/8" × 10 -1/4". The British Museum © The Trustees. [Fig. 6 -9]

Pablo Picasso. First Composition Study for Guernica. May 1, 1937. Pencil on blue paper. 8 -1/4" × 10 -5/8". Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain. © 2013 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 6 -10]

Pablo Picasso. Composition study for Guernica. May 9, 1937. Pencil on white paper. 9 -1/2" × 17 -7/8". Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain. © 2013 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 6 -11]

Pablo Picasso. Guernica. 1937. Oil on canvas. 11' 6" × 25' 8". Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain. © 2013 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 6 -12]

Drawing Tools and Their Characteristic Lines. [Fig. 6 -13]

Types of Hatching. [Fig. 6 -14]

Types of Hatching. [Fig. 6 -14 a]

Types of Hatching. Cross-hatching. [Fig. 6 -14 b]

Types of Hatching. Contour hatching. [Fig. 6 -14 c]

Charles White. Preacher. 1952. Pen and black ink, and graphite pencil on board. 22 -13/16" × 29 -15/16" × 3/16". Collection of Whitney Museum of American Art, New York. Purchase. 52. 25. Photo by Geoffrey Clements, New York © 1952 The Charles White Archives. [Fig. 6 -15]

Umberto Boccioni. States of Mind: The Farewells. 1911. Charcoal and Conté crayon on paper. 23" × 34". Museum of Modern Art (Mo. MA) Gift of Vico Baer. Acc. n. : 522. 1941 © 2013. Digital image The Mo. MA, New York/Scala, Florence. [Fig. 6 -16]

Vija Celmins. Web #5. 1999. Charcoal on paper. 22" × 25 -1/2". Private Collection, NY. Courtesy Mc. Kee Gallery. [Fig. 6 -17]

Georges Seurat. L'Echo, study for Une Baignade, Asnières. 1883– 1884. Black Conté crayon on Michallet paper. 12 -5/16" × 9 -7/16". Bequest of Edith Malvina K. Wetmore. Yale University Art Gallery, New Haven, Connecticut, USA. [Fig. 6 -18]

Rosalba Carriera. Portrait of a Girl with a Bussola. 1725– 1730. Pastel on paper. 13 -3/8" × 10 -1/2". Gallerie dell'Accademia. © Cameraphoto Arte, Venice. [Fig. 6 -19]

Edgar Degas. Le Petit déjeuner après le bain (jeune femme s'essuyant). c. 1894. Pastel on paper. 39 -1/4" × 23 -1/2". Private Collection/Photo © Christie's Image/The Bridgeman Art Library. [Fig. 6 -20]

Hokusai. Tuning the Samisen. c. 1820– 1825. Brush drawing. 9 -3/4" × 8 -1/4". Freer Gallery of Art, Smithsonian Institution, Washington. D. C. : Gift of Charles Lang Freer, F 1904. 241. [Fig. 6 -21]

Rembrandt van Rijn. Eliezer and Rebecca at the Well. 1640 s. Reed pen and brown ink with brown wash and white gouache. 8 -1/4" × 13 -1/16". National Gallery of Art, Washington D. C. Widener Collection 1942. 9. 665 [Fig. 6 -22]

Nancy Spero. Peace. 1968. Gouache and ink on paper. 19" × 23 -3/4". © Estate of Nancy Spero/Licensed by VAGA, New York, NY. [Fig. 6 -23]

Windsor Mc. Cay. Little Nemo in Slumberland (detail). April 4, 1906. Published in New York Herald. [Fig. 6 -24]

Gilbert Hernandez. Cover of Fear of Comics. 2000. Courtesy Fantagraphics Books, Inc. © Gilbert Hernandez, 2007. [Fig. 6 -25]

Marjane Satrapi. Page from Persepolis. 2001. L'association, Paris. [Fig. 6 -26]

Janusz Jaworski. Untitled abstract comic. 2001. Ink and watercolor on paper. Courtesy of the artist. [Fig. 6 -27]

Julie Mehretu. Back to Gondwanaland. 2000. Ink and acrylic on canvas. 8' × 10'. Collection A & J Gordts-Vanthournout, Belgium. Courtesy of the artist and Marian Goodman Gallery. [Fig. 6 -28]

Christine Hiebert. Reconnaissance (view #2). 2009– 2010. Blue tape and glue on wall. Wall coverage c. 110' running wall length × c. 35' high. Installation view from the Davis Museum and Cultural Center at Wellesley College. Photo © the artist. [Fig. 6 -29]

Ingrid Calame. #334 Drawing (Tracings from the L. A. River and Arcelor. Mittal Steel). 2011. Colored pencil on tracing Mylar. 115 -1/4" × 75" × 3 -1/4". Courtesy of Susanne Vielmetter Los Angeles Projects and James Cohan Gallery, New York/Shanghai. [Fig. 6 -30]

David Hockney. The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twentyeleven)— 4 January. 2011. i. Pad drawing. 56 -3/4" × 42 -1/2". © the artist. [Fig. 6 -31]