Drawings play a large role in McPherson's work as preliminary schematics, as finished studies for mezzotints and paintings as well as stand-alone works.
"My preferred method is to do a schematic, as accurate as possible, with as much detail as time allows…pencil is used first, like a scalpel to dissect the subject…The next piece is often a tonal drawing with soft leads, which evolves very slowly, like shapes emerging from a fog. Mezzotint comes from this technique; it is deliberate and unforgiving."
- From interview with Sarah Hall, Frick Museum catalogue.
In the summer of 1979 McPherson fashioned a perspective device from a drawing...
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"(The)…graphite drawings such as "Clairton, From the Hill" are breathtakingly precise. McPherson's range of tone – articulating snow and steam, shadow and smoke, with equal dexterity and definition – comes from a mastery of technique, a respect for craftsmanship, and, mostly, an act of will. They are, upon close examination, unbelievably exquisite."
- From Mary Thomas' review, "Craig McPherson—Urban Realist",
Pittsburgh Post-Gazette, March 6, 2008
Drawings play a large role in McPherson's work as preliminary schematics, as finished studies for mezzotints and paintings as well as stand-alone works.
"My preferred method is to do a schematic, as accurate as possible, with as much detail as time allows…pencil is used first, like a scalpel to dissect the subject…The next piece is often a tonal drawing with soft leads, which evolves very slowly, like shapes emerging from a fog. Mezzotint comes from this technique; it is deliberate and unforgiving."
- From interview with Sarah Hall, Frick Museum catalogue.
In the summer of 1979 McPherson fashioned a perspective device from a drawing made by Da Vinci and an engraving by Durer (see image #18). Using this tool allowed a more systematic method to create his schematic drawing of Harlem and the Manhattan skyline (#'s 20 and 21) from his studio on 168th St. He took this method to a new level by inventing a technique for perspective drawing using a surveyor’s theodolite: a small telescope with crosshairs built into a computer with an LED panel that records changes in degrees of arc (see image #22). McPherson used this technique to create accurate perspective drawings for the two American Express Tower mural projects-see details of the Venice drawing (#’s 23-25). This drawing, like the nine others, were done on site and range in size from the Venice drawing which is approximately 2'x18', to the schematic of Sydney Harbor Bridge that is 6'x36'.
