The pencil drawings by E. Kuzovkin, as noted by critics, "clearly reveal the hand of an engraver... capable of seeing and interpreting the phenomena of reality, making adjustments for the peculiarities of technique and the nature of the material right in the process of work." The evolution of his drawings is linked to his development as a master of linocut. For instance, the series of spatial narrative sketches "Aunt Dora's Estate" (1972) is closer to the artist's early lyrical prints, while the drawings from the series "Winter Preludes" (1981), despite their basis in nature, express more the drama of his emotional experiences and an intensified interest in the problems of artistic form.
Nikolai Egorovich Evdokimov also works extensively in pencil drawing. Among his works are those distinguished by a carefully crafted realistic form (the series "Seasons. Karagach Grove," 1974). In recent years, his style of naturalistic and compositional drawing is rich in features of folk primitivism and ethnographic elements. Evdokimov travels extensively throughout the republic and the country, enriching his creativity with life experiences. Based on these, he has created drawn series such as "Through the Far East" (1971; triptych "Shepherd's Family," 1973; "Kyrgyz Circus," 1977); "Builders," 1978; "Standing" (1978) and many individual sheets that tell about working people, their everyday life, and the nature of various corners of the Soviet Union. A significant place in Evdokimov's drawings is given to portraiture. Among the best are the double portrait "Friends" (1973), the sheet "Apa" ("Mother") from the series "Female Images" (1981-1983), "Portrait of T. Kurmanaliev, Director of the Institute of Space Research" (1983); "Umut Mamaeva — a shock worker of communist labor at the Cholpon-Ata Dairy Plant," 1984.
