One of the steadfast proponents of natural drawing is T. Herzen. He is characterized by both quick, lively sketches and detailed drawn compositions. In his best landscape drawings done in pencil and pastel, he is sensitive to the life of nature and lyrical. His panoramic-epic landscape pastels from the cycle "Mountain Motifs of Kyrgyzstan" (1980-1981) create a majestic image of mountain nature, rich in colors and forms. The motifs of these sheets are mainly inspired by the places dear to the artist's heart in the Talas Valley. The artist's portrait and genre drawings are expansive in narrative, warmed by personal connection, and psychological ("At the Construction Site of the Osh Theater. Artists," 1974, canvas; "Evening Tale," 1978, canvas; "Before Sleep," 1978, canvas; "My Workshop," 1980, canvas; "Portrait of My Son," 1980, canvas, etc.).
A wide range of life content and searches for artistic expressiveness in drawing can be traced in the works of V. Gladkov ("Dzherganak," 1967, pastel; series "Toktogul's Everyday Life," 1974, canvas; "March Snow," 1979, canvas; "Anxiety Night," 1976, ink), M. Akhmedov ("Mother," 1973, pen, ink; "In the Pen," 1979, ink, pen; "Reindeer Breeder of the 'Usinsky' Collective Farm L. N. Filippov," 1980, ink, pen; "Tatarnik," 1982, ink, pen), I. Belevich ("Saturday Morning," 1973, charcoal; "Turdugul," 1978, canvas; "Portrait of a Hero," 1981, canvas; "Portrait of A.M. Dyldaev," 1982, sanguine), V. Maximov ("Crossing the Glacier," 1981, ink, pen; "Archaic Forest," 1982, ink, pen; "Khan-Tengri in the Evening," 1982, ink, pen), M. Omorkulov ("Special Hydromontage Worker," 1962, canvas; "Student Mamyt," 1965, canvas), A. Misyurev ("On the Caspian," 1973, charcoal; "Sofia. Turkish Mosque," 1968, colored marker), A. Shubin ("Roofs," 1962, lithographic pencil; "Page from the Album," 1963, marker), K. Babajanov ("Portrait of Grandmother," 1980, canvas; "By Evening," 1983, ink, pen; "Noon," 1983, ink, pen).
