How to draw a beautiful black and white drawing. How to draw a black widow in full growth with a pencil step by step

27.03.2019

I find that the technique of drawing in black and white can be quite a fun activity. It forces you to focus on the contrasts of light and dark tones and create an image in tint rather than color. The main thing to think about when trying a black and white drawing technique is whether the subject of the image is attractive enough. Think about how to increase the impact of your drawing by choosing a single subject placed in a flat field and in bright light.

The dog Poppy became my nature, and I chose a rather harmless portrait, placing it against the sunlight. In all its glory, a striking profile and rich black hair appeared. Depicting fur and feathers in black and white usually requires careful rendering of form and texture to create a more realistic look. An experienced artist begins by examining a reference photograph. Do not choose a photo that is valuable for the image itself - take the liberty of editing it. This way you can extract as much information as possible.

In the case of Poppy's photo, I have chosen only one fragment that I want to focus on. I also increased the contrast of the image (this can be easily done either with Photoshop or the iPad or Smartphone app) to get a better look at the texture of the fur.

Art materials used:

  • Paints: Cadmium Orange, Cobalt Turquoise, Lamp Black and Mars Black, Permanent White gouache.
  • Paper: non-watercolor paper 300gsm, 50x40cm
  • Round brushes from Pro Arte Series 007, size 0, 2, 7, 10 and 12; nylon from Pro Arte Series 31, size 0000; Royal Sovereign Contour Brush, size 2
  • Masking fluid

1. Sketch out the main points

First, I make a sketch on thick paper, carefully looking at the curls of the wool. When the result completely satisfies me, I transfer it to a sheet of watercolor paper. Apply masking fluid to capture the basic fur shapes and main details, using a large area brush and a cheap 0000 size brush to create fine lines.

2. Make a bright orange accent

The introduction of vibrant color can really spice up a black and white painting. Here a mixture of Cadmium Orange and Cobalt Turquoise is used to highlight Poppy's leash - bright orange looks great on black wool. I also chose to paint the darkest details, including the eyes and the ring on the leash, with black watercolor paint. This means that later I can apply lighter shades, and these details will stand out.

3. Add another layer of masking fluid

Masking fluid should not be used on plain paper. In this case, you need to wait until the layer of orange paint on the leash dries, and only then apply strokes of masking fluid. When I later added more orange, the areas that were protected by the masking fluid helped create the intricate, textured structure of the leash. I also ran masking fluid all over Poppy's leash to keep the black paint from bleeding in the later stages.

4. A layer of black paint

Once the masking fluid is dry, apply a base coat of Mars Black (a rich, bluish black, great for creating shadows) and Lamp Black (a warmer shade of black, good for highlighting details). Try to avoid too much wetting of the layer, as when the black color dries, it can turn into a lighter, gray layer.

5. Building textures

Let the previous layer completely dry. Examine the shape and texture of the coat again and apply more masking fluid, this time paying attention to the finer details of the pet's coat. To change the texture, you need to make sure that these new lines go through the black layer and white paper. When the next layers are applied, this is what will add zest to the surface of the picture.

Here I start working on the shadows using Mars Black, looking closely at how the fur reflects the light. All the necessary information should be visible in the reference photo, so take a close look at it and draw what you see, not what you want to see. The key here is observation.

7. Remove masking liquid

Remove the masking liquid with your fingers. Make sure the painting is completely dry before doing this; if it is wet, then the masking liquid can damage the surface of the paper. Once the masking fluid is removed, it is necessary to pay attention to how the different forms of fur fit together and decide what else needs to be added to the pattern.

8. Layer of shades

The masking liquid will keep some areas of the paper under Poppy's fur white, so they need to be darkened a little to give shadows that can soften the black layer. Painting over areas previously covered with masking fluid gives the coat a layered feel, as the contrasts created in the early layers are evident.

9. Outline shape and fur

Poppy has a white streak on her chest that needs to be masked out before applying the next coats. Other outstanding details are also worth highlighting. Once the masking fluid was dry, I painted in the finer details of the fur with small round brushes. I tried to create a sense of form by adding shadows along the lines on Poppy's face and fur.

10. Evaluation time

I stepped back and tried to identify those areas that needed additional contrast or adjustment. This is more subtle work. Using black, white, turquoise and orange pencils, I assessed the reference photo and focused on the eyes, fur, collar and carabiners.

11. Finishing touches

Once I'm done with black paint, I can start working with white gouache and white pencil to create as many reflections, details, and tufts of wool as possible. Since Poppy is drawn on a white background, all rough edges can be softened with white gouache.

Black and white images of girls are a classic. Such pictures look good in the interior, as prints on clothes and for decorating your own diaries and notebooks. However, not everyone will be able to draw an illustration the way it is seen in the head. To do this, you can use ready-made works or photographs.

Drawing from photos

If the artist has drawing skills to a fairly good degree, you can try to take as a basis photo portrait of a girl in black and white. This is necessary to make it easier to navigate the light and shadow.

You will need an ordinary simple pencil, eraser, paper and a sharpener. It is recommended to take thick paper, which is designed for watercolor. On it, the work will look more interesting and of high quality. If you take an ordinary thin sheet, it may tear. When drawing a portrait of a girl, there will be a lot of extra details. delete with eraser.

Work sequence:

  1. First you need to find your favorite photo. It is not worth taking very complex pictures, especially if this kind of illustration is performed for the first time;
  2. then we get to work, having previously prepared all the art materials and accessories;
  3. first with a pencil main details outlined: horizon line, figure, large objects in the foreground and background;
  4. the main elements of the girl's figure are drawn: waist, limbs, face, hair, clothing and what she can hold in her hands;
  5. go to the background and draw what is behind the heroine. To make it easier for yourself the first time, you can make the background plain or simplify it as much as possible. For example, if a girl is in nature in a photograph, you just need to draw the sky, vegetation and the surface on which she should stand - bare ground, grass, sand, tiles, and so on;
  6. important pay attention to correct shading to make every item look natural. To do this, you need to focus on the photo. In the original, the girl sits on a stump or log - you need to draw bark and moss. If this is not done, the end result will not be what it should have been originally;
  7. then pay attention to the light and shadow. This is especially true of the girl's face, as well as objects of the foreground.

Among other things, you can take a portrait photo as a basis, but such work has its own nuances. For example, work on facial features. Do not think that drawing a portrait is easier. On the contrary, it will require even more knowledge of academic drawing. So you should start with a full-length image of a girl.

Sketching from other people's work

If the artist is a beginner and he still has little experience, you should turn to the already finished works of other authors. It is important to pay attention to the style - you don’t need to choose too realistic illustrations, it’s better pay attention to minimalistic drawings. By the way, you can also use art created with a tablet. Interpretation on paper will look no less interesting.

Simple black and white illustrations of girls in pencil do not require knowledge of the laws of chiaroscuro and strict observance of proportions. You can take a picture of some cute little girl and portray her by adding your own elements of clothing or changing her hairstyle.

Drawing art from scratch

If you can't find a job to draw, you can try reproduce your own idea on one's own. Both experienced artists and beginners can try, but the latter should simplify their idea as much as possible.

To create a black and white girl, you will need all the same materials: a pencil, thick watercolor paper, an eraser and a sharpener.

The work plan looks like this:

  1. on a sheet objects of the second and first plan are outlined, including the heroine herself;
  2. after that, her face, clothes, body, as well as other objects of the first plan are worked out;
  3. draw the background, work on the volume of details of the second plan;
  4. then it all depends on the style in which the picture is made. If the drawing is made in the style of minimalism, we move on to shading, and if it is realistic, we work on proportions, light and shadows.

It is worth noting that drawing portraits of girls from the head is very difficult. This idea can be implemented either professional and experienced craftsman or by drawing.

Tips to help you draw better

Some important nuances for beginner artists will help in creating the first art:

  1. no need to take the complex work of famous authors for sketching. Most likely, it will turn out not at all what was expected to be seen. Perfect for first pictures. cartoon girls and girls made in black and white;
  2. if the author decided to depict the character in black and white, you should not add color in the process of work - this will only ruin the drawing. But colorless art will look stylized, regardless of the genre chosen by the artist;
  3. you need to work only with high-quality materials. It is not necessary to buy expensive art supplies, but the pencil must be sharpened and the eraser clean;
  4. Don't give up if your first job doesn't turn out the way you expected it to. You can draw everything - the main thing is to train.

It is worth saying that every artist started somewhere, so it is important to set yourself up for constant training and exercise. After some time, the pictures will become better and better, and each author will achieve the desired result.

Any graphic drawing can be attributed either to linear graphics or to spot graphics. In the first case, it will be a drawing with lines, in the second - stain pattern. It is also possible to combine lines and spots in one composition. Each of these cases has its own peculiarity for perception, its own meaning and beauty.

We have already said a lot about the special expressiveness of the line, and now let's look at something else visual tool - SPOT. Spot graphics are no less diverse and interesting.

SILHOUETTE IN GRAPHICS

The simplest version of black and white compositions is the SILHOUETTE, a black image on a white background or white on black. You have probably seen such black and white drawings in books.
These drawings are two-dimensional, very conditional and concise.

silhouette art has an ancient history and goes back to the figurative painting on the vessels of Ancient Greece. Remember those beautiful images on amphorae: mythological scenes, the Olympic Games, the figures of Greek beauties and athletes?..

The real boom in silhouette art came in the 18th and 19th centuries. We can say that then the manufacture of silhouettes was a craze.

Many artists have paid tribute to this type of graphics and created beautiful examples of silhouette work.

Wherever they found application: illustrations, portraits, drawings on screens, dishes and in the interior ... The ability to create silhouette compositions was taught even at the Institute of Noble Maidens!

traditional silhouette portraits cut out of black paper and pasted on a white background. The contrast of black and white made it possible to accurately and quickly convey the features of the appearance, because the profile of a person in silhouette is very easily recognizable.

Ease of execution and, accordingly, low cost made this type of graphics very popular. However, in order for the picture to be expressive, it is important to very accurately notice the features of the outlines of the shape of a particular character, to give its characteristic details.

About ten years ago, I did my own silhouette portraits. Sharp scissors, black paper, a trained eye - and in 10-15 minutes your sitter will be imprinted for centuries. Good entertainment at a party or extra money in a hungry year… 🙂

Although, of course, silhouette compositions can be much more complex and attractive to look at than just portraits.

BLACK AND WHITE PICTURES WITH SHADES OF GRAY

However, in addition to a locally black spot, all shades of gray can be used in the graphics. We see these gradations in charcoal, sauce, pastel, and ink drawings.

In this case, the image can already be three-dimensional, realistic, very reliably conveying reality.

But be that as it may, here plasticity and expressiveness of the spot are of great importance. The artists of China and Japan are especially virtuoso in their use of the expressiveness of the spot.

Despite the simplicity of the motive, their graphic sheets are unusually attractive. The game of blurry and clear spots, the beautiful flow of gray colors, the perfection and harmony of forms.

And now, with all our guts, we feel the tender, refined, so fragile leaves of an orchid, the soft fur of a cat, the speed of a horse’s swift run, the joy of a bird’s flight ...

Based on the example of these works, we can understand that spot pattern is more than a recognizable silhouette.

This is a very important point that I would like to convey to you.

The expressiveness of the image can be laid

NOT ONLY in the recognizability of the silhouette (which is depicted),

but also IN THE MOST FORM of stains (as pictured).

WHAT CAN THE SPOT TELL ABOUT?

Let's take different spots as an example.

Even if our eye does not find familiar outlines in any of these spots (and it tries very hard), then we can associate the shape of the spot with certain sensations.

For example, we can say whether this spot is calm or moving, aggressive or friendly, delicately refined or monumentally massive.

What associations do certain spots evoke in you? Can you feel them?

I suggest you watch the recording of one of my speeches at Periscope (from the training “Discover the Creator in yourself”). In it, I share the practice of creating spots with different characters.

After completing the exercises, you will be able to free your hand and create your own artistic images, allowing the stain to “speak” in the language of silhouettes.

Spot Language in Graphics: Practical Exercises

THE SIGNIFICANCE OF THE SHAPE OF THE SPOT

From the main forms of the spot, we can distinguish four, each of which affects the viewer in a different way:

  1. Square and rectangle.
    A finished, stable form, ready to express affirming images. The square is the most static and heavy, not prone to movement.
  2. A circle.
    Closed compact form focused on itself. Having no expressed basis, the circle is always unstable. For a person, the circle is associated with the concepts of “good”, “happiness”, “life”.
  3. Triangle.
    The most mobile, dynamic form, stable only if one of the sides is horizontal. The triangle is a symbol of movement, energy, sometimes even aggression.
  4. Amoeba form.
    Its fluidity expresses unstable images in a wide range from romanticism, melancholy to pessimism.

Modern artists actively use the spot precisely as a “spot”. 🙂 Admire! a master class on inkblotography

So, from this article you learned that no matter what graphic drawing you create, whether silhouette or tonal, it is important to remember about the EXPRESSION of the spot.

Improve your skills in creating spots that are interesting in shape, proportions and dynamics, and your drawings will be more expressive and attractive! I wish you success!

I would be grateful for the comments and repost of the article on social networks!

Found some great tips Bobby Chiu(one of the leading teachers on Schoolism) on how to make black and white drawings better, which I share. Some of this may seem simple, but all the tips really work. Monochrome drawings are an important part of learning to draw, they develop an understanding of tone, volume and more, and they are a little easier to draw. The tips below apply to drawing with pencils, pens, and markers.

Wipe away excess ink on a separate sheet.
Ballpoint pens are a wonderful medium and can be used to create beautiful subtle contrasting strokes.
But when you draw with a pen, always in the process of work, excess paste appears on the rod, which must be removed. I've seen artists do this many times in the margins of their work, but it's best to use a separate sheet for this. you need to press the tip of the rod to the paper and twist it a little. So the lines of the pen will be clear, thin and there will be no blots at work.

Use different shades of gray.
This tip works great with markers - there's usually a wide range of cool and warm grays. Using not one marker, but several, you can add depth to the drawing and it will look more interesting.

Draw a sketch for a marker drawing with a simple pencil.
Before doing the work with a marker, sketch out a sketch with a simple pencil. The beauty of the method is that after the markers dry, according to Bobby, the pencil drawing can be easily erased without damaging the marker drawing.

Don't throw away dry markers.
Many people tend to refill the marker at the first sign of drying, but semi-dry markers and felt-tip pens are a completely independent tool for creating amazing textures. Try using them to draw shallow shadows or uneven surfaces in your drawing.

Use all the possibilities of a pencil.
Pencil drawing is as unique as handwriting. Use a variety of strokes and pressure to emphasize the shape and achieve texture. I’ll add on my own that it’s very useful to make yourself a sheet with a “texture library”, where you can collect strokes of various shapes and directions, and look at it while drawing, so as not to get hung up on ordinary strokes.

Remember light.
While drawing with a pencil, it is very easy to darken the light places, and it can be very difficult to return the light tone, so do not rush to make the drawing contrast. If you feel that you are darkening the picture, put the drawing aside for a while to understand where you need to stop and where you can still work.

Use multiple pencils.
No one forbids drawing with one pencil, but as a rule, beautiful strokes, a clear drawing, and deep shadows can only be achieved using pencils of different softness. The order of work is from the hardest to the softest. It is convenient to sketch out the sketch and the first shadows with the H pencil and gradually move along the softness ruler with the darkening of the picture (I usually stop at 6B or 8B).

Protect your work.
Such a simple advice and for some reason many neglect it. Place a blank sheet of paper under your working palm so as not to smear the drawing. Life hack: it is better to use matte tracing paper - this way you can see the whole work.

Draw sketches or thumbnails before you start.
Also simple advice and also often not followed. Thumbnails are such small handwritings with the location and composition of the future drawing. This is an obligatory stage before large works, but it also helps in small drawings. A sketch can be very approximate, but even it will seriously simplify life.

These simple tips from a good practitioner will make your drawing neater and teach you good habits. What helps you when drawing with a pencil, pens or markers?


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