Draw a black white white black drawing of a house. How to draw a full-length black widow with a pencil step by step

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In this lesson I will tell and show you how a copy of the painting by the great Gerome Jean Leon “Black Bashi-Bazouk” was created. As an artist, I believe that you can learn a lot from the old masters, especially when it comes to color. It is very important to remember that when familiar with the original, you cannot mindlessly copy it; you need to put your soul into it - ask yourself why this artist chose these particular colors and not others, etc.

INITIAL SKETCH

Because We are going to make a print of the original, it is very important to maintain the proportions of the image that we want to copy. To do this, I use a grid to convey the proportions as clearly as possible - just create a grid on top of the reference photo. Then open the file again, fill the background with a light gray color and start sketching it cell by cell. Try to do everything very carefully, because at this stage the future of your image is decided. Depending on your drawing style, the result should be more or less clean. If it doesn't work, reduce the Opacity of the sketch layer (40% will be enough), create a new layer, and trace it along the path for a cleaner image. Here's what I got:

WORK IN GRAY TONES

When the sketch is ready, you can move on to creating a strong light and shadow composition. Work in gray tones helps to concentrate only on light and shade, without being distracted by colors.

In my opinion, a successful drawing needs a good light and shadow composition. You can use any color scheme, but if the chiaroscuro is not working correctly, the drawing is doomed to failure. The first thing you need to do is go to the menu Image – Mode – Grayscale (Image – Mode – Grayscale). In addition, you need to open the color slider, which is located in the Window – Color menu. Get all your gray work done with this slider. Do not copy light and shade from a sample photo, you will not learn anything from this, but the result may not be so great.

Start simple - use large brushes at first to avoid detailing too early. Work the dark areas first before moving on to the light areas. Try to distribute the load evenly. That is, make sure that it doesn’t happen that the face is replete with details, and everything else suffers from their lack.

For the blending process, I mostly use a hard-edged round brush and a dotted brush, with the Opacity level reduced to 25-50%. You won't need many layers for this step; one layer for the background and another for the figure will be enough. Everything should be extremely simple. If you're happy with the shadow overlay, you can now turn on Size Jitter under Pen Pressure and start working on the details. Create new layers and gradually merge them one by one with the base layer to keep everything neat.

And here is my finished drawing in gray tones. Even in this form it looks “finished”. It's best if you get as much detail as possible into the image before you move on to adding color. This will make the coloring process much easier.

ADDING COLOR

After preparing the drawing in gray tones, it's time to think about color scheme. Since we're creating a copy of the original, it's a good idea to step back from your drawing for a moment and take a closer look at the colors in the original image. Make sure that the HSB slider is enabled at this stage, under the Colors menu. Open the original and use the eyedropper to examine the transition colors throughout the image. Spend a couple of minutes on this, and then start implementing the color.

IN in this case The color scheme consists of quite rich red/orange colors. The darkest areas are redder and the lighter areas tend towards orange/yellow tones. With this data, we begin to color our drawing. Since we were working in grayscale mode, it's time to change it to RGB. To do this, go to the menu Image – Mode – RGB.

After studying color scheme original, first of all create a new layer on top of the main layer, and set its mode to Color. For the base, choose a red-orange tone, because... this is basic color theme, then merge these layers. Create another layer, this time for the skin. Study the color transitions in the original and try to reproduce them in your drawing. The shadows on the face, for example, have a very rich red tint, while the highlights are more orange/yellow. Try to carefully select colors from the HSB window. Now let's merge the layers. Repeat this process until you have a finished color drawing.

PROCESSING AND DETAILS

While coloring, don't be afraid to continue processing the image. Although you already have a strong foundation at this stage, implementing some of your ideas can make the drawing much better. Don't be afraid to work at a larger scale, you can make friends with it. Zoom in on certain areas of the image for more detailed study, especially the focal point area. I want to draw attention to the face, so I make sure that this part of the image has the most detail.

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

Poppy the dog became my subject, and I chose a rather harmless portrait, placing her opposite sunlight. His striking profile and rich black coat were on full display. Depicting fur and feathers in black and white usually requires careful rendering of shape and texture to create more realistic look. An experienced artist begins work by studying a reference photograph. You should not choose a photo that is valuable by the image itself - take the liberty and edit it. This way you can extract as much information as possible.

In the case of Poppy's photo, I chose just one piece to focus on. I also increased the contrast of the image (this can be easily done either with using Photoshop, or in an application for iPad or smartphone) to better see the texture of the coat.

Used art materials:

• Paints: Cadmium Orange, Cobalt Turquoise, Lamp Black and Mars Black, Permanent White gouache.
• Paper: non-watercolor paper 300gsm, 50x40 cm
• Round brushes from the Pro Arte Series 007, sizes 0, 2, 7, 10 and 12; nylon from Pro Arte Series 31, size 0000; Royal Sovereign contour brush, size 2
• Masking fluid

1. Sketch the main points

First I sketch on thick paper, looking closely at the curls of the fur. When I am completely satisfied with the result, I transfer it to a sheet of watercolor paper. We apply masking fluid to capture the basic shapes of the fur and the main details, using a brush for large areas and a cheap 0000 brush for fine lines.

2. Go for a bright orange accent.

Introduction bright color can really liven things up black and white picture. Here a mixture of Cadmium Orange and Cobalt Teal is used to highlight Poppy's leash - the bright orange looks great against the black fur. I also decided to paint the darkest details, including the eyes and the leash ring in black. watercolor paint. This means that later I can apply more light shades, and these details will be highlighted.

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, later I added more orange color, the areas that were protected by the masking fluid helped create the complex, textured structure of the leader. 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, blue-black color great for shadows) and Lamp Black (more warm shade black, suitable for highlighting details). Try to avoid getting the layer too wet, as when the black dries, it may turn into a lighter, gray layer.

5. Building textures

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

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 look at it carefully and draw what you see, not what you want to see. Here key point is observation.

7. Remove masking fluid

Remove masking fluid using your fingers. Make sure the painting is completely dry before doing this; if it is damp, the masking liquid can damage the surface of the paper. Once the masking fluid has been removed, attention must be paid to how various shapes wool are combined together, and decide what else needs to be added to the drawing.

8. Layer of shades

The masking fluid will keep some areas of the paper under Poppy's fur white, so they need to be darkened a little to create 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 earlier layers are evident.

9. Outline of shape and fur

Poppy has it on her chest white stripe, which should be masked before applying subsequent layers. Other outstanding details are also worth highlighting. Once the masking fluid had dried, I painted in the finer details of the fur using small round brushes. I tried to create a sense of shape by adding shadows along the lines of Poppy's face and fur.

10. Evaluation time

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

11. Finishing touches

Once I'm done with the black paint, I can start working with white gouache and white pencil to create as many reflections, details and tufts of fur 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 classics. 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 they see it in their head. To do this, you can use ready-made works or photographs.

Drawing from photographs

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

You will need a regular pencil, eraser, paper and sharpener. It is recommended to use thick paper designed for watercolors. It will make your work look more interesting and of high quality. If you take the usual thin sheet, it may tear. When sketching a portrait of a girl, you will need a lot of unnecessary details. delete with eraser.

Sequence of work:

1. First you need to find a photo you like. It’s not worth taking very complex photographs, especially if this kind the illustration is being performed for the first time;
2. Then we get to work, having previously prepared all the art materials and supplies;
3. first with a pencil outlines the main details: horizon line, figure, large items in the foreground and background;
4. the main elements of the girl’s figure are drawn: waist, limbs, face, hair, items of clothing and what she can hold in her hands;
5. let's move on to in the background and draw what is behind the heroine. To make the task easier for yourself for the first time, you can make the background plain or simplify it as much as possible. For example, if in a photo a girl is in nature, you should simply draw the sky, vegetation and the surface on which she should stand - bare earth, grass, sand, tiles, and so on;
6. important pay attention to correct shading so that every item seems 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 the bark and moss. If this is not done, final result it will not turn out the way it should have been initially;
7. Then we pay attention to light and shadow. This especially applies to the girl’s face, as well as foreground objects.

Besides everything else, You can use a portrait photo as a basis, but such work also has its own nuances. For example, working on facial features. Don't think that drawing a portrait is easier. On the contrary, it will require even greater knowledge of academic drawing. So you should start with an image of a girl in full height.

Drawing from other people's works

If the artist is a beginner and has little experience yet, you should turn to an already finished works other authors. It is important to pay attention to the style - there is no need to choose too realistic illustrations, it is better pay attention to minimalist drawings. By the way, you can also use art created using a tablet. The interpretation on paper will look no less interesting.

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

Drawing art from scratch

If you can’t find a job to sketch, you can try reproduce your own idea on one's own. They can try it like experienced artists, and beginners, 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 something like this:

1. on a sheet objects of the second and first plan are outlined, including the heroine herself;
2. then her face, clothes, body, as well as other foreground objects are worked out;
3. we draw the background, work on the volume of background details;
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 your head is very difficult. This idea can be implemented either professional and experienced craftsman , or using sketching.

Tips to help you draw better

Some important nuances for beginning artists will help in creating their first art:

1. no need to take complex work famous authors for sketching. Most likely, the result will not be what you expected to see. Ideal for first pictures cartoon girls and girls, made in black and white colors;
2. if the author decided to depict a character in black and white, you should not add color during the work - this will only spoil 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 should 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 anything - the main thing is to practice.

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

Found some great tips from Bobby Chiu(one of the leading teachers on Schoolism) on how to do black and white drawings better ones, 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, while making them a little easier to draw. The tips below apply to drawing with pencils, pens, and markers.

Remove excess ink on a separate sheet.
Ballpoint pens - wonderful material, they can create beautiful subtle contrasting strokes.
But when you draw with a pen, excess paste always appears on the rod as you work, which needs to be removed. I've seen artists do this many times in the margins of their work, but it's better to use a separate sheet for this. you need to press the tip of the rod to the paper and twist it a little. This way the lines of the pen will be clear, thin and there will be no blots on the work.

Use different shades grey.
This tip works great with markers - they usually have a wide range of cool and warm shades. gray colors. By 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 half-dried markers and felt-tip pens are completely independent tools for creating stunning textures. Try drawing shallow shadows with them or uneven surfaces on the image.

Make the most of your pencil.
Pencil drawing is unique, just like handwriting. Use a variety of strokes and pressure to emphasize 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 different shapes and directions, and look at it while drawing, so as not to get hung up on ordinary strokes.

Remember the light.
It's very easy to over-dark when drawing with a pencil. bright places, and return light tone It can be very difficult, so don’t rush to make the drawing contrasting. 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.
Nobody forbids drawing with one pencil, but as a rule, achieve beautiful strokes, a clear drawing, and deep shadows You can only use 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 an H pencil and gradually move along the softness ruler to darken the picture (I usually stop at 6B or 8B).

Protect your work.
Such simple advice and for some reason many people neglect it. Enclose Blank sheet paper under your working palm so as not to smudge the drawing. Life hack: it’s better to use matte tracing paper - this way you can see the entire work.

Draw sketches or thumbnails before starting work.
This is also simple advice and is also often not followed. Thumbnails are small handwritings with the location and composition of the future drawing. This is a mandatory step before large works, but it also helps in small drawings. The sketch may be very approximate, but even it will seriously simplify life.

Like these ones simple tips from a good practice they will make your drawing more accurate and will teach you how to good habits. What helps you when drawing with a pencil, pens or markers?

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

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

SILHOUETTE IN GRAPHICS

The simplest version of black and white compositions is a SILHOUETTE, a black image on a white background or white on black. You've probably seen such black and white drawings in books.
These drawings are two-dimensional, very conventional and laconic.

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

The real boom in silhouette art occurred in the 18th and 19th centuries. You could say that silhouette making was a craze back then.

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

Wherever they found a use: 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 onto White background . The contrast of black and white made it possible to accurately and quickly convey facial features, 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 note the features of the shape of a particular character and give its characteristic details.

About ten years ago I did it myself silhouette portraits. Sharp scissors, black paper, a trained eye - and in 10-15 minutes your sitter will be captured for centuries. Good fun at a party or extra work 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 DRAWINGS WITH SHADES OF GRAY

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

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

But be that as it may, here too plasticity and expressiveness of the spot are of no small importance. Artists from China and Japan are especially virtuoso in mastering the expressiveness of spots.

Despite the simplicity of the motif, their graphic sheets are unusually attractive. A play of blurry and clear spots, a beautiful flow of gray colors, perfection and harmony of forms.

And now we feel with all our guts the delicate, refined, so fragile leaves of an orchid, the soft fur of a cat, the speed of a rushing horse, the joy of a bird in flight...

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

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

The expressiveness of the image can be determined

NOT ONLY in the recognition of the silhouette (what is depicted),

but also IN THE FORM OF the spot (as depicted).

WHAT CAN A STAIN 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 a spot with certain sensations.

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

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

I invite you to watch the recording of one of my speeches on Periscope (from the training “Discover the Creator in You”). In it I share the practice of creating stains with different characters.

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

Spot language in graphics: practical exercises

THE IMPORTANCE OF SPOT SHAPE

Of the main forms of spots, we can distinguish four, each of which has a different effect on the viewer:

1. Square and rectangle.
   A complete, stable form, ready to express affirming images. The square is the most static and heavy, not prone to movement.
2. Circle.
   Closed, compact form, focused on itself. Without a clear foundation, a circle is always unstable. For a person, a circle is associated with the concepts of “good”, “happiness”, “life”.
3. Triangle.
   The most mobile, dynamic form is stable only if one of the sides is horizontal. The triangle is a symbol of movement, energy, and sometimes even aggression.
4. Amoeba form.
   Its fluidity expresses images that are unstable in nature in a wide range from romance, melancholy to pessimism.

Modern artists actively use stain as a “stain”. 🙂 Enjoy! master class on blotography

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

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

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