Christine Cornell introduces herself:

“I have been drawing in courtrooms since 1975. Where cameras are not allowed the images that artists produce are the only visuals available of the stories that grip public attention. Decent likenesses, and grasping the essence of the days story, are bottom line requirements. Having an instinct for portraying the undercurrent of human drama is a plus. It is rich terrain for deep character study.

I come from a newsy family of writers and reporters. I’ve always loved to draw, especially people, so when my sister, radio reporter Irene Cornell, brought me to court at age fifteen, I saw artists there throwing out tableaus to illustrate the days proceedings, I felt a jolt! This was something I knew I could do really well. I went to Pratt institute the following year, studying figure drawing, anatomy, perspective, and composition.

Drawing from memory and imagination, a skill I developed as a child, helped with capturing the fast moving pace of events. Adding these other diciplines gave me solid footing and attracted the attention of news organizations that needed back-up for their regular artists. I was a good draftsman, but my painting experience was thin for full portraiture.

So I went back to school. Studying privately with Michael Aviano, then at the NY Academy with Seth Jacobs, my realism capacities blossomed. I continue to study at the Chelsea school with Rick Piloco. The experience of drawing in court has always had a horse out of the gate quality. You line up your tools, then ready or not… and you better be ready!

With the internet expansion over the last decade, and the 24 hour new scycle, the pressure has only increased!
The necessity to produce 3-5 drawings by 4PM is common, when it used to be two to three. It is trenchwork. The labor is intensive, and pastels are dirty. To capture all the components of every day is a constant challenge, mentally athletic, and when you get it right, deeply satisfying.”