Dan Thompson opened his drawing demonstration with the question: “How would you set things up so you could begin drawing without becoming set in your ways?”

His anecdotal response sparked laughter: “Draw like a man and don’t commit to anything.”

With these words, the renowned artist in skill-based figurative art addressed the audience of art students, alumni, and art enthusiasts who gathered to witness his artistic process Jan. 18 in the Fine Arts Building lobby. Thompson’s drawing demonstration preluded his art show, which opened the following day.

Chairman and Associate Professor of Art Julio Suarez served as Thompon’s model for the three-hour session. 

Thompson’s technique, involving a larger-than-life scale and an emphasis on drawing from life, became evident as he meticulously rendered Suarez’s portrait. 

In terms of his teaching style, Thompson said his own specialty is helping students visualize the structure of the human body internally. 

“When we draw pelvises and hips, I try to help students visualize the elements of the human pelvis in a structural, three-dimensional way and because of that, I need scale,” Thompson said. “If I draw small I can’t get in here and explore.”

Having dedicated over 25 years to his craft, Thompson has a portfolio spanning public and private collections worldwide — a feat which has earned him recognition as an Art Renewal Center Living Master Artist. Thompson co-founded two Manhattan art schools and has taught at prestigious institutions including the Art Students League of New York, the National Academy School, Parsons the New School for Design, and Studio 126 in New York.

Junior Eleanor Vaughan said she noticed how Thompson’s intuitive process reflects his engagement with the subject.

“He attempts to capture a likeness and something of the personality of his sitters and believes this is most effectively done when he engages with them and understands something of their story,” Vaughan said.

Senior Josie Cuddeback said she is a model for the art department and has had the privilege of watching students’ portraits of her slowly become her likeness. 

“The difference I noted was the confidence with which Mr. Thompson started — no hesitation and no deliberation beyond the careful choice of the model’s position,” Cuddeback said. 

Thompson spoke to the audience as he drew, answering and asking questions, cracking jokes, and generally engaging with the audience, Cuddeback said. 

“His skill with the pencil seemed so ingrained that it coexisted naturally and easily with his conversation,” Cuddeback said. “I think it crystallized for me that being an artist is less a set of skills and more of a vocation.” 

Thompson’s chosen subject is the human figure. In addition to working with live models, Thompson said he has experience working with cadavers.

“I teach artists in dissection rooms, and we learn how to visualize the body three dimensionally and aesthetically,” Thompson said. 

Thompson said drawing is a navigational tool for him, but he begins with what he observes. 

“Eventually I go into a two dimensional way of evaluating the perceptual shape,” Thompson said. 

Thompson said it’s important to be mindful of the entire paper, a principle he links to the Japanese concept of “notan,” which is the arrangement of dark and light. This informs one’s composition of lines, shapes, and tones.

Thompson said artists should hone their craft in a similar way to musicians. 

“It’s important for the individual to carve out creative territory for himself that isn’t governed by some kind of technical system,” Thompson said. 

Suarez said he greatly admires Thompson’s ability to combine a deep knowledge of human anatomy with tremendous perceptual skills.  

“Watching him work will reinforce what students are taught as well as expose them to other approaches and techniques,” Suarez said.

Junior Cecelia Cummins said the demonstration deepened her understanding of art as a discipline. 

“I found that meeting, conversing with, and learning from Mr. Thompson was incredibly instructive and fruitful. It was really an eye-opening experience,” Cummins said. “We often forget that the drawing techniques Professor Suarez strives to hammer in our brains are part of a long, rich, and invaluable tradition.”

Cuddeback said she noticed how art seems to be a core part of the way artists interact with the world.

“He really seemed to love what he was doing,” Cuddeback said. “It was three hours that kept me riveted.”