Recently I posted about our family of New York Studio School influences, and Tina Kraft. I found a few more drawings that show aspects of a process that changed the way I draw. These portrait sketches by Tina Kraft demonstrate a technique of using marks to activate the white paper. The marks are both in and around the head, describing the figure as well as the space around it, even the process of drawing itself. By jumping from mark to mark we learn the relationship of one point to another: the eyebrow to the mouth, the mouth to the shoulder. Our eyes are invited to follow the artist as she touches the back of the head, then touches the wall, then comes back to the head. By following her pathway of observations we learn about the space and the surface. Some marks are points to locate on objects, some are imaginary measurements that float like spider silk between elements, relating the subject to the act of drawing as observation (verb) to the physical drawing itself (noun). For all the space and form and curious searching that they describe, they also remind us that they are marks on flat paper.