The above piece, Textural Patterns For Descriptive or Expressive Purposes–19 (aka Physical Distancing Trace|Two Birds|Two Squirrels–19) completes Project 107 of Mendelowitz's Guide To Drawing, 3rd Edition using digital "pen and ink,… introducing textural patterns for descriptive or expressive purposes… such as rocks, brambles, weeds, weathered wood, a derelict automobile in a field that offers interesting surfaces and textures."

By happenstance, this project preceded the release of a NY Times article about 17 Artists Who Capture a Surreal New York From Their Windows.

The above, Candlestick ca. 2016 Mild Steal (developed from Modelled Stick and Shadows & Space), illustrates 10 hours of Allen's contour, model & gesture techniques digitally drawn of an Albert Paley sculpture, Candlestick (Memorial Art Gallery 2016).

The things you will do —over and over again— are but practice. They should represent to you only the result of an effort to study, the by–product of your mental and physical activity. Your progress is charted… in the increased knowledge with which you look at life around you.
—Kimon Nicolaïdes, The Natural Way To Draw

Allen's gestural drawing above using digital pencil and brush (with photo backdrop) is a gestrual potrayal of Fredrick Douglass, the great American social reformer, abolitionist, orator, writer, and statesman. The colors are inspired by geological minerals from a thermal hot–spring at Wai–O–Tapu, New Zealand known as Artist's Palette.

"I see how much of a responsibility you have as an artist. You are the reflection of our times. So whether you're a writer, or a dancer, filmmaker, painter, or sculpture, you're reflecting the times that you live in and after you are gone, all that is left is that reflection."
—Bisa Butler

"The relationships in art are not necessarily ones of outward form, but are founded on inner sympathy of meaning."
—Wassily Kandinsky

Color Bedroom

The video below is an animation of 6–hours of Allen's digitally drawing a photograph by Robert Polidori, Bedroom. The video ends with six added artifacts from the Memorial Art Gallery digitally drawn by Allen in 2016.
Music: Beautiful (from Sunday in the Park with George, 1984)

The use of color is necessarily a personal thing. Schools based on the systems of certain painters, no matter how good those painters are, lose the personal experience, the individual evaluation of color, which is necessary to make the effort succeed.
—Kimon Nicolaïdes, The Natural Way To Draw p. 215

Digital Drawing Pedagogy ⇔ Artist Studio

Allen Gregg Fox Galante's digital drawing pedagogy emulates pencil, charcoal, and brush mark making. He creates a contemporary art, using a technological medium, while following an anachronistic process. It represents a practice of the historical intentions of revered art educators, their books and teaching techniques. As a dedicated artist, he’s completed over 6100 studies for a digital drawing pedagogy illustrating an anecdotal critique of accepted education models. This establishes a conceptual body of art that expresses learning.

The artist’s studio interests Allen as an abstraction of materials. It showcases the flow from foundation to creation. By understanding an artist’s processes and developments, Allen seeks to grasp the gestalt of artworks and incorporate similarly into digital renditions.

As an autodidact, he explores the evolution of drawing via a series of virtual mark–making studies to create a digital drawing pedagogy.

Manuscript
Between 2012 and 2016, Allen executed over 5500 drawings as a comprehensive study of every lesson in The Natural Way To Draw by Kimon Nicolaïdes. He consolidated a manuscript called The Natural Impulse To Draw. Review both the book and manuscript in a side–by–side preview here.