draw in(to)

(redirected from drawing into)

draw in(to)

1. To attract someone or something. A noun or pronoun can be used between "draw" and "in" or "into." You need a bright new sign to draw people into your store. The beginning of this book was so good that it just drew me in—I haven't been able to put it down since!
2. To engage one in something. A noun or pronoun can be used between "draw" and "in" or "into." I refuse to be drawn into a fight, no matter what passive-aggressive thing Addison says to me today.
See also: draw

draw someone or something into something

 and draw someone or something in 
1. . Lit. to pull someone or something into something; to attract someone or something in. She drew the child into the shoe store and plunked her down. Liz opened the door and drew in the children who were all bundled in their parkas.
2. Lit. to sketch a picture, adding someone or something into the picture. She drew a little dog into the lower corner of the picture. I drew in a large tree and the ruins of an abbey. She drew herself into the scene.
3. Fig. to involve someone or something in something. Don't draw me into this argument. This is not the time to draw that argument into the discussion.
See also: draw

draw in

Induce to enter or participate; inveigle. For example, They tried to draw in as many new members as possible, or I refused to be drawn in to his scheme. [Mid-1500s]
See also: draw
References in periodicals archive ?
This system basically involved filing the latest version of a drawing into a master binder, as well as filing the document control record.
As she had for the Bienal, Cinto wrapped her ballpoint iconography--elegant graffiti emitting a faint surrealist aroma--around the corners of the yellowish-white walls, turning the drawing into a kind of invasive plant.
Panel painting, Cennini claims, is the "sweetest and most polished" art there is, and it is the medium which the apprentice should master before trying his hand at the more virtuoso art of fresco.(46) Implicitly, the artist addressed in this part of the Libro has graduated from drawing into painting and has recently come to find his own style.
In both cases, his aim was to stretch the norms of what constitutes artmaking, to produce work that "revolves around the principle of translation." In Sigmund, which is part of his ongoing "Pictures of Chocolate Series," 1997-, the act of translating a drawing into a photograph that recalls a painting opens a gap in the formal and syntactical chain that we construct whenever we attempt to decipher a work of art.