Drawing in Black & White_ Creative Exercises, Art Techniques, and Explorations in Positive and Negative Design ( PDFDrive )

deborah
vel squez

creative exercises,
art techniques, and
explorations in positive
and negative design

© 2017 Quarto Publishing Group USA Inc. All rights reserved. No part of this book may Library of Congress Cataloging-in-
Text and artwork © 2017 Deborah Velásquez be reproduced in any form without written Publication Data
permission of the copyright owners. All
First published in the United States of images in this book have been reproduced Velasquez, Deborah, author.
America in 2017 by with the knowledge and prior consent of Drawing in black & white : creative
Quarry Books, an imprint of the artists concerned, and no responsibility exercises, art techniques, and
Quarto Publishing Group USA Inc. is accepted by producer, publisher, or
100 Cummings Center printer for any infringement of copyright or explorations in positive and negative
Suite 406-L otherwise, arising from the contents of this design / Deborah Velasquez.
Beverly, Massachusetts 01915-6101 publication. Every effort has been made to ISBN 9781631592805 (paperback)
Telephone: (978) 282-9590 trace the copyright holders and ensure that 1. Drawing--Technique.
Fax: (978) 283-2742 credits accurately comply with information NC730 .V45 2016
QuartoKnows.com supplied. We apologize for any inaccuracies 741.2--dc23
Visit our blogs at QuartoKnows.com that may have occurred and will resolve
inaccurate or missing information in a 2016029239
subsequent reprinting of the book.
Design: Burge Agency
10 9 8 7 6 5 4 3 2 1 Cover Image: Deborah Velásquez
Photography: Glenn Scott Photography
ISBN: 978-1-63159-280-5 Illustration: Deborah Velásquez
Digital edition: 978-1-63159-343-7
Softcover edition: 978-1-63159-280-5 Printed in China

Lionfish (p. 61) and Amalfi Coast (p. 101) for
Minted®. Minted is a registered trademark of
Minted, LLC.

I DEDICATE THIS BOOK TO
MY BEAUTIFUL MOM, WHOSE
DETERMINATION, STRENGTH,
AND COURAGE MADE SO MUCH
POSSIBLE. SHE ALWAYS SAID,
“LIVE LIFE WITHOUT REGRET AND
DO EVERYTHING!’’

ALSO FOR JOHN, ELÁN, AND
AUGUSTE, WITH LOVE.

CONTENTS

8 Introduction 20 EXERCISE 1 58 EXERCISE 19
Warm-Up Black Gouache Washes
10 Why Work in Black and Tones with Detail Work
and White? 22 EXERCISE 2 in Pencil and Pen
Gesture Drawing
11 How to Use This Book 62 EXERCISE 20
24 EXERCISE 3 The Secret of Acrylic Ink
12 Materials Two-Handed Reflection
Drawing 64 EXERCISE 21
Sumi Brush Writing
26 EXERCISE 4
Follow the Line 68 EXERCISE 22
Torn Paper Strips
28 EXERCISE 5
Contour Drawing with a 70 EXERCISE 23
Continuous Line Circles in Torn Paper

30 EXERCISE 6 72 EXERCISE 24
Blind Contour Drawing Cut, Fold, and Glue

32 EXERCISE 7 76 EXERCISE 25
Continuous Line Painting with Scissors
Kitchen Drawings
78 EXERCISE 26
34 EXERCISE 8 Cut Paper Fun
Line Work Botanical
Drawings 80 EXERCISE 27
Hole Punch Garden
36 EXERCISE 9
Playing with Negative 82 EXERCISE 28
Space Hole Punch Village

38 EXERCISE 10 84 EXERCISE 29
Mark Making for Texture, Sketching with a Craft Knife
Value, and Form
86 EXERCISE 30
40 EXERCISE 11 Stencil Art
Create Texture with
Wrinkled and Folded Paper 88 EXERCISE 31
Found Object Printing
42 EXERCISE 12
Connect the Dots 90 EXERCISE 32
Stamp Carving Tutorial
44 EXERCISE 13
Scribble and Fill 94 EXERCISE 33
Block Print Patterns
46 EXERCISE 14
Brush Discovery 98 EXERCISE 34
Block-Printed Scenes
48 EXERCISE 15 and Cityscapes
Painting with Gouache
102 EXERCISE 35
50 EXERCISE 16 Embellished Block-Printed
White on White Shapes with Line Work
and Paint
52 EXERCISE 17
Flock of Birds 104 EXERCISE 36
Stitched Block Prints
54 EXERCISE 18
Washes, Shadow, and 106 Gallery
Tone with Pen and Paint 112 About the Author
112 Acknowledgments

INTRODUCTION

Drawing in Black & White is about My love affair with pens and paper
exploring simple drawing and creative began in childhood. I was drawing every
play while using a limited palette. We chance I got. I have always wanted to
will keep it simple and fun. With a few art be an artist. Even today, I always carry
supplies and basic creative exercises, you a sketchbook and a handful of favorite
can create beauty. The projects explore pens with me wherever I go; I might see
line, shape, wash, stamping, and cut something I need to draw! This book
paper and their playful relationships with was inspired by a personal challenge I
each other in positive and negative space. undertook that I called “the black and
You will see how the integration of simple white sketchbook project.’’ I thought that
design principles, such as repetition, if I kept things simple and didn’t overthink
balance, space, and rhythm, give rise to them, that I could make art every day.
beautiful, lively patterns. Your confidence Making art every day has been a personal
and skill will build with each pen mark commitment since I returned to a creative
and with each exercise. Drawing in Black career after having my boys. I was
& White is simply presented, visually determined to make art no matter how
inspiring, and easy to follow. You will also limited my time was with small children.
find sixteen colored papers in the back of Even if I only had an hour a day,
the book to use in your experimentation. I was going to make that hour count.
I started with a stack of 5" x 7"
(12.7 cm x 17.8 cm) tan craft
cardstock cards and a pen. Hence
the “keeping things simple’’ mantra.

I had a design teacher in art school who
said, “If it doesn’t work in black and white,
color isn’t going to fix it.’’ I believe this
to be true, and that is why I love sharing
my inspiration and process with you. My
hope is that you have fun, make art in
its simplest form, and see how an easy
warm-up exercise may just end up being a
favorite framed art piece.

8 DRAWING IN BLACK & WHITE



WHY WORK IN As you begin to draw and experiment with A limited palette lends itself to beautiful,
BLACK AND shape and line using just black and white, strong, and sophisticated artwork. Dark
WHITE? the contrast and the simplicity will be backgrounds in black or gray with white paint
instantly evident. Black and white makes make a bold statement. White pen or paint
for a comfortable, low-noise creative on a tan craft background has a modern
palette. It allows your creative message yet rustic vibe.
to be quickly communicated. The results
are clean and classic. It is restful to the creative eye to peel back
color and create with less. This process
returns the focus to basic yet important
design principles and expands your
creative process.

10 DRAWING IN BLACK & WHITE

HOW TO USE When creating art, everything is possible In the beginning, you may want to replicate
THIS BOOK with just paper and pen. There’s no need the designs you see on the page, but as
to practice or sketch first. Just jump in and you gain more experience and confidence,
start creating. You will find sixteen drawing complete the exercises in your own style,
pages in the back of the book in gray, black, with your own shapes, and with your own
and tan to start your journey. marks. That will be when the magic starts.

Try a few simple exercises. With a couple of Use this book as a foundation, a place to
supplies, you have all you need to challenge grow your ideas and make your messes,
yourself creatively. Use the papers included mistakes, and masterpieces with confidence.
to begin exploring your mark making, your Enjoy the process and be surprised by the
line’s personality, your hand, and your style. art and beauty you create.
The key is to maintain a relaxed approach
and do not feel like the materials are too
precious to use. Draw and paint freely.
Let accidents happen, such as paint drips,
scribbles, and unintended lines—these
may turn out to be your best work! I call it
designing by accident.

HOW TO USE THIS BOOK 11

MATERIALS Your first task as you dive into this book is to watercolor or gouache. Notice how the tools
get familiar with your materials. Set out all of move with the papers. Notice how heavy or
your supplies and try each pen, each brush, light the marks are. For example, I learned
and each paper type. Get ready to have your that it is easier to draw a straight line by
materials teach you. Practice making marks pushing away from you with your pen or
and scribbles with each pen. Do the same on brush. I also learned that it is easier to make
different papers. Then repeat this exercise a circle with a nice edge by pulling your pen
using a couple of different brushes and or brush toward you.

12 DRAWING IN BLACK & WHITE

WHAT SHOULD I DRAW ON?

Papers are made from the fibers of either SCRAPBOOKING PAPER offers smooth and BRISTOL BOARD OR BRISTOL PAPER is a
wood pulp or cotton. Lower quality papers textured surfaces for drawing and comes quality, heavier-weight paper, similar to
are made from wood pulp. Higher quality in weights suitable for stamping and cardstock and smooth for stamping and line
papers are made from cotton fibers that are water media. work. It is typically acid free and is available
more resistant to chemical breakdown over in white, black, and various colors.
time. These papers are commonly referred BROWN CRAFT PAPER is a nice complement
to as “rag’’ paper. Many medium-grade to black-and-white line or paint work and MIXED-MEDIA PAPERS AND BOARDS are
papers are a combination of both. offers a rustic beauty. ordinary papers that have been coated or
primed, so they can accept almost any
Many of the projects in this book can be Save SCRAP PAPER, DISCARDED BITS FROM medium. They are suitable for water-based
executed with multiple types of paper. If PROJECTS, AND PAPER BAGS. Use them to paints, inks, gouache, and more.
you just want to get started and only have test paint or line strokes, and to remove
printer paper on hand, that is perfectly excess paint from brushes before stenciling. DECIDING WHAT IS RIGHT FOR YOU
suitable. Ideally, get some cardstock and Always use scrap paper to get the flow going Try different papers and see what feels
some medium- and heavier-weight papers for in your drawing implement as well as in best to you. I enjoy the smoothness of
drawing, and particularly when you get to the your drawing hand, and warm up with a few cardstock for line work and flat, even, ink
exercises that use paint. You will notice that scribbles and doodles before you start on stamp impressions. I like the sturdiness and
different surfaces affect the type of marks your exercise. absorbent nature of the heavier stock or
you get. Your artwork deserves a good watercolor paper for painting. Mixed-media
foundation, and you may enjoy the process ARCHIVAL PAPER is the highest quality acid- paper and Bristol board/paper serve both
more when you use nicer papers. free paper and best for artwork that you want purposes. Cardstock is great for collage
to last a long time. making, cutting, and gluing.
PRINTER PAPER or regular weight is great as
scrap and for testing prints, line work, and WATERCOLOR PAPER is absorbent and is Lighter-weight papers work well for
drawing. best for wet media. It is available in different sketching in pencil, pen, and marker, as well
weights and in three finishes, typically as for stamping. I like how cardstock feels in
DRAWING PAPER, often part wood and labeled as “rough,’’ “cold press,’’ and “hot my hand, and I like that I can draw and paint
part paper pulp, is a bit heavier than printer press.’’ Most artists prefer the textured on it without worrying about cost.
paper. It is available in white, black, finish of rough or cold press for transparent
and other neutrals, such as tans, browns, watercolors, because the texture helps
and grays. control the paint. The smoother finish of
hot press paper is desirable for opaque
CARDSTOCK (also called cover stock) is watercolors, for more detailed paint work,
thicker and more durable than printer paper. and for printmaking and drawing.
Cardstock is easy to cut and work with and
has a nice smooth surface for drawing.

MATERIALS 13

PAINTS AND INKS PENS, PENCILS, AND BRUSHES

INDIA INK is simple black-colored ink used CALLIGRAPHY PENS can be fitted with various BRUSHES come in a variety of sizes and
for drawing with Sumi brushes or with nibs that offer a variety of line weights. They shapes. We will be using a round, a pointed
calligraphy pens. are a great vehicle for mark making. I love round, a flat, and a mop brush for our
my vintage calligraphy pen; I feel it has exercises. I like to use sable brushes.
ACRYLIC INK is water resistant, dries quickly, some history. Always use an inexpensive brush for
and flows easily. It can be used for stamping mixing paint.
as well. It has a translucent shine when dry. WATERPROOF MICRO-PIGMENT PENS are
archival waterproof marking pens. They are SUMI BRUSHES are used for Chinese
BLOCK PRINTING INK is a rich, quick-drying, great for drawing, don’t bleed, and can be calligraphy and drawing and can be used
water-based ink used for rubber and found in a variety of tip sizes. with ink or gouache. Working with a Sumi
linoleum block printing. brush is magical to me. I love to move the
PERMANENT MARKING PENS are waterproof paint with expressive brushstrokes on paper
PIGMENT INK PADS are used for stamping but can occasionally bleed a little and are to create written beauty. The magic lies in
carved block designs onto paper. They have found in a variety of tip sizes. the parts of the brush tip, which allow thick
a rich and vivid ink that dries on top of the to thin lines in the same fluid stroke.
paper, as opposed to soaking through, but PAINT PENS are opaque and water-based ink
takes longer to dry than dye-based inks. markers that dry to a matte finish. ART BRUSHES are used to clear working
surfaces of eraser residue and to brush off
GOUACHE is opaque watercolor paint with GEL PENS are smooth-rolling ink pens for cut strips and residue from rubber blocks
a velvety finish. It has a creamy yogurt detail work. after carving.
consistency when mixed and is not
waterproof. I have worked with this medium BRUSH PENS create a brush-like, watercolor
my whole creative career and it is, by far, effect by a controlled flow from the well to
my favorite. It is forgiving and versatile, the nib and can be used with ink and paint.
and it dries fast as well. Dried gouache on They are easy to handle and transportable.
your palette can be revived with a drop of
water, so there is no waste! Darker colors PENCILS are available in both soft and hard
get lighter when dry, and lighter colors dry leads for drawing and shading.
darker. One note: Gouache can crack when
dry, so do not fold or roll artwork made with
this medium; store it flat.

14 DRAWING IN BLACK & WHITE

PENS FOR MARK MAKING

VINTAGE
CALLIGRAPHY

PEN

WATERPROOF

MICRO-PIGMENT

PIGMENT PEN

LINER GEL PEN PERMANENT

PERMANENT IN BLACK MARKER, FINE PAINT PEN, INK BRUSH
FINE TIP PEN
MARKER, TIP PAINT PEN,
MEDIUM TIP
BRUSH PEN ULTRA-FINE CALLIGRAPHY
MARKER
TIP MARKER CALLIGRAPHY
PEN

MATERIALS 15

BLOCK PRINTING TOOLS

RUBBER CARVING BLOCKS come in white, PLEXIGLASS makes a nice flat palette
gray, or pink rubber, much like eraser for painting and is a perfect top plate for
material. They are soft and offer a smoother distributing even pressure onto carved
cut when working with your tools. I prefer blocks for uniform impressions when
the thick, white blocks, which are easier to printing.
handle and less prone to tearing.
A BONE FOLDER is used to rub on the wrong
LINOLEUM BLOCKS provide a harder surface side of a drawing to transfer the image to a
and are better for detail work. block. A wooden spoon also works for this.

A LINOLEUM CUTTER WITH INTERCHANGEABLE SOFT LEAD PENCILS are for drawing on
TIPS cuts rubber or linoleum blocks for rubber blocks or transferring lines of
printing. Tips 1 and 2 are for thin lines, tips artwork onto tracing paper, essentially
3 and 4 are for medium lines, and tip 5 is making your own carbon transfer sheet.
for cutting away large pieces. Cutting tools
with wooden handles can be found with tips TRACING PAPER is used for drawing and
attached individually. transferring line work from your design onto
your rubber block. Remember that the image
BRAYERS come in rubber or foam and are that is cut into the rubber block will print in
used for rolling paint onto carved blocks, reverse. Carbon paper may be used as well.
for stenciling, and for mixing paint. I use the
rubber type to warm paint by rolling it onto
plexiglass for stenciling and block-printing
exercises.

16 DRAWING IN BLACK & WHITE

OTHER SUPPLIES

PALETTES provide a surface to mix and hold ARTIST TAPE has a secure hold but is
paint as you create. They come in a variety repositionable and easy to remove without
of sizes and designs, from metal to acrylic, harming your artwork.
so find a few to suit your needs. Some paints
need convex wells for mixing, so small SCISSORS are used for cutting tasks.
ceramic bowls are great for this, or invest in
a metal or plastic palette with convex wells. A CRAFT KNIFE is great for cutting borders
Use old plates, sushi soy sauce holders, or and shapes in a precise manner.
small ceramic bowls with ridges to lay your
brushes on as I do. A CUTTING MAT protects your surface and is
self-healing. The guidelines printed on the
mat are a great help for cutting stencils and
rubber blocks.

A METAL RULER doubles as a straightedge
for cutting with a craft knife.

A SEE-THROUGH PLASTIC RULER is used for
measuring and inking precise line work.

A METAL PALETTE KNIFE is helpful for mixing
and scooping paint onto a palette. You
can also use a plastic knife, a spoon, or a
popsicle stick.

NEWSPAPER OR LARGE CRAFT PAPER is
great for covering your inking and painting
surfaces.

DECOUPAGE OR GEL MEDIUM is used as glue
for collage work.

MATERIALS 17

LINE WORK
Types of lines

VINTAGE CALLIGRAPHY PAINT PEN, PAINT PEN, INK BRUSH BRUSH PEN
CALLIGRAPHY PEN MEDIUM TIP FINE TIP PEN MARKER

PEN

18 DRAWING IN BLACK & WHITE

PIGMENT WATERPROOF PERMANENT GEL PEN CALLIGRAPHY PERMANENT
LINER MICRO-PIGMENT MARKER, MARKER MARKER,
FINE TIP
PEN ULTRA-FINE
TIP

MATERIALS 19

MATERIALS
Music
White sketch paper
Pen or pencil
Timer (optional)

WARM-UPExercise 1:

WARM UP YOUR DRAWING HAND WITH
FREE-FORM LINES AND SHAPES TO GET
YOUR CREATIVE JUICES FLOWING AS YOU
PREPARE TO DIVE INTO OTHER PROJECTS.
I USE A TIMER TO TIME MY EXERCISES.
USING ONE FREES YOU FROM OVERTHINKING
OR OVERSTUDYING YOUR SUBJECT. UNDER
A TIME CONSTRAINT, YOU WILL FOCUS ON
WHAT IS MOST IMPORTANT IN YOUR VISUAL
REPRESENTATION. I SUGGEST ONE MINUTE TO
START. BE BRAVE AND TRY THIRTY SECONDS!
MAKE IT A MORNING ROUTINE. MY YOUNGEST
CHILD LOVES THIS EXERCISE; IT IS AN EASY,
TIDY WAY TO MAKE ART WITH YOUR LITTLE ONE.

20 DRAWING IN BLACK & WHITE

1. Play some music.
2. Set up your sketch paper.
3. Put the tip of your pen or
pencil on the paper and, without
lifting it, cover the entire page
with lines, circles, squiggles,
or angles.
4. Get the flow going in your
drawing hand. Stand up and put
your body into it.
5. Let your lines be free, loose,
overlapping, and fun.

WARM-UP 21

GESTUREExercise 2:
DRAWING

IN THIS EXERCISE, YOU WILL DRAW WITH
ABANDON AND CAPTURE THE ESSENCE OF
YOUR SUBJECT QUICKLY. GESTURE DRAWING
HAS ALWAYS BEEN ASSOCIATED WITH
FIGURE DRAWING, BUT I LIKE TO APPLY IT TO
OBJECTS OR ARCHITECTURE, TOO. THERE IS
NO OPPORTUNITY FOR OVERTHINKING IN THIS
EXERCISE. IT IS SO FREEING, AND I LOVE THAT
SKETCHY FEEL THAT HAS PASSION, EMOTION,
AND MOVEMENT IN IT.

22 DRAWING IN BLACK & WHITE

MATERIALS

Timer (optional)

Drawing instrument
of choice

Sketch paper,
printer paper, or
a paper bag

Craft paper or
cardstock

1. I prefer to stand with my 2. Set a timer for 20 to 60 4. When you are finished with
drawing pad propped up at an seconds per object (this is your individual sketches, draw
angle: It makes for a looser hand optional). Study your object five to ten of your favorites on
while drawing gesturally. Set quickly and draw quickly. As one sheet of craft paper or
up your drawing materials and your eye follows the shape, cardstock to create a final
reference objects in a way that is your drawing hand captures the piece of art.
comfortable for you. essence of what you see. The
drawing should not be perfect 5. Your drawing will have
or realistic. Make your marks personality in its lines and
intentional and decisive. curves. You can see this as you
start and stop and as you move
3. Using five to ten sheets of quickly up, down, and around
inexpensive sketch paper, draw the page. Think of your gesture
individual sketches of your drawing as a short story rather
object. than a novel.

GESTURE DRAWING 23

TWO-HANDEDExercise 3:
REFLECTION
DRAWING

IN THIS EXERCISE, YOU WILL DRAW IN A
FREE-FORM MANNER USING BOTH HANDS
SIMULTANEOUSLY ON A SHEET OF PAPER. IT
MIGHT FEEL AWKWARD AT FIRST, BUT BE LOOSE
AND HAVE FUN WITH IT. YOU’LL BE SURPRISED
BY WHAT YOUR NON-DOMINANT HAND CAN DO
WHEN YOU DON’T OVERTHINK IT.

1. It is best to stand over your 3. Without lifting your markers,
work space for this exercise. move both hands at the same
Tape the paper onto your work time in opposite directions to
surface so it won’t move. draw free-form shapes in a
mirror image.
2. Take a marker or pencil in
each hand and place them on 4. Fill the page with lines,
the paper. Start anywhere circles, squiggles, or whatever
on the page. you want.

24 DRAWING IN BLACK & WHITE

MATERIALS
Tape
White sketch paper
2 markers or pencils

TWO-HANDED REFLECTION DRAWING 25

MATERIALS
Music
White sketch paper
Pen or pencil

FOLLOWExercise 4:
THE LINE

IN THIS EXERCISE, YOU CREATE A PIECE WITH
VISUAL RHYTHM AND FLOW. THE LINES ARE
ALWAYS DRAWN IN PARALLEL. THIS IS A
GREAT MEDITATIVE EXERCISE THAT PUTS
YOU “IN THE ZONE.’’

26 DRAWING IN BLACK & WHITE

1. Play some music. A

2. Set up your sketch paper. If
you want, you can start and stop
new drawings.

3. Put your pen or pencil on the
paper and draw a curving line.
Start and stop where you wish.

4. Draw another line parallel to
the first, following the direction
of the line, and then draw
another parallel to that one.

5. Go in any direction—the key
is not to cross lines or overlap
them. Fill the page.

6. Try this exercise in paint.
See if you can apply the
same discipline. (See A.)

FOLLOW THE LINE 27

MATERIALS

Black, gray, or tan
lightweight or heavy
cardstock

White gel pen,
black gel pen, or
permanent marker

CONTOURExercise 5:
DRAWING WITH
A CONTINUOUS
LINE

IN THIS EXERCISE, DRAW YOUR SUBJECT,
WHICH CAN BE A STREET SCENE, NATURE,
A CHAIR FROM YOUR LIVING ROOM, OR EVEN
SOMETHING FROM YOUR IMAGINATION, IN
ONE CONTINUOUS LINE. I USED A STREET
IN AMSTERDAM AND TREES FROM AN
IMAGINARY FOREST IN MY EXAMPLES.

28 DRAWING IN BLACK & WHITE

1. Find reference materials
from your home surroundings,
pictures from magazines, or
online.
2. Set up your drawing
materials.
3. Draw what you see without
lifting your pen. You can overlap
lines, draw in details, and make
marks all while keeping your
lines connected. Your hand will
find a natural rhythm as you
glide across the page.

CONTOUR DRAWING WITH A CONTINUOUS LINE 29

BLINDExercise 6: 1. Select your reference MATERIALS
CONTOUR materials from your work area,
DRAWING travel books, or online. Black, gray, or tan
lightweight or heavy
IN THIS EXERCISE, YOUR PEN NEVER LEAVES 2. Set up your drawing cardstock
THE PAPER AND YOUR EYES STAY FIXED ON materials.
YOUR SUBJECT, WHICH CAN BE A STILL LIFE White gel pen,
FROM YOUR DESK, A PERSON’S FACE, OR 3. Study your reference for a black gel pen, or
ARCHITECTURE, LIKE IN MY EXAMPLE. THIS minute to get comfortable with permanent marker
METHOD REALLY HELPS YOU “SEE’’ YOUR what you see. Put your pen on
SUBJECT IN A FOCUSED WAY. the paper without looking down. Timer (optional)
For about one minute, draw what
you see without lifting your pen
or looking down. I use a timer to
keep track. You will be amazed
at how long a minute is!

30 DRAWING IN BLACK & WHITE

BLIND CONTOUR DRAWING 31

MATERIALS

Black craft paper in
heavy cardstock

White gel pen

CONTINUOUSExercise 7:
LINE KITCHEN
DRAWINGS

YOUR KITCHEN IS FULL OF FUN SKETCHING
IDEAS—CERAMICS, GLASSWARE, UTENSILS.
CHOOSE SOME INTERESTINGLY SHAPED
ITEMS FOR THIS EXERCISE, SUCH AS A STACK
OF BOWLS, A SINUOUS VASE, OR A SET OF
UTENSILS, AS SHOWN HERE. EACH ITEM
IS SKETCHED WITH A CONTINUOUS LINE,
WHICH GIVES THE DRAWING ITS
CHARACTERISTIC LOOK.

32 DRAWING IN BLACK & WHITE

VARIATIONS

1. Find and arrange your
reference materials from your
kitchen, or use pictures from
cookbooks or online.
2. Set up your drawing
materials.
3. Jump in without sketching
first. Your lines should be
free and loose. To make a
continuous line drawing, put
your pen on the paper and draw
what you see without lifting your
pen, periodically looking at
your reference.

CONTINUOUS LINE KITCHEN DRAWINGS 33

MATERIALS

Black, gray, or tan
craft paper or heavy
cardstock

White gel pen,
black gel pen, or
permanent marker

LINE WORKExercise 8:
BOTANICAL
DRAWINGS

THIS EXERCISE FOCUSES ON USING LINE WORK
AND DETAILS TO DRAW ITEMS FROM NATURE.
THE EXAMPLES SHOWN ARE FLOWER AND LEAF
STUDIES.

34 DRAWING IN BLACK & WHITE

1. Select your reference
materials, such as flowers from
the garden, pictures from flower
books, or images online.
2. Set up your drawing
materials.
3. Draw straight onto the paper,
no sketching first: Just dive right
in and draw only in line. You can
shade with line work if you like
when filling open spaces on your
flower or plant.

LINE WORK BOTANICAL DRAWINGS 35

PLAYING WITHExercise9: A MATERIALS
NEGATIVE Gray or tan
SPACE lightweight or heavy
cardstock
IN THIS EXERCISE, YOU WILL PLAY WITH White gel pen
LINE WORK AND NEGATIVE SPACE. JOINING
NEGATIVE SPACES WITH MARKS CREATES B
INTERESTING PATTERNS. THE EXAMPLE
SHOWN USES DIRECTIONAL LINES FROM LEFT
TO RIGHT AND PARALLEL TO ONE ANOTHER.
AS YOU FILL THE SPACES, YOUR DESIGN
COMES TO LIFE ORGANICALLY.

36 DRAWING IN BLACK & WHITE

1. Set up your drawing you just drew and the one in The image above is another
materials. the adjacent column. These example of playing with line
two touch points create work and negative space. Here,
2. In column formation, draw a negative space. (See A.) most of the circles are filled with
vertical series of organic circles. directional lines and the negative
Draw one touching the next, 4. With your gel pen, make spaces between the circles are
going from top to bottom. Draw directional lines to fill the left blank.
quickly and without hesitation for negative spaces between
better results. Vary the sizes for the circles. This makes for PLAYING WITH NEGATIVE SPACE 37
visual interest. a meditative exercise with
beautiful results. (See B.)
3. Make another column of
organic circles, top to bottom 5. As you fill the page with
again, until you have filled the white lines, you create a
page from left to right. Each web-like pattern with
circle should touch the one movement and form.

MARK MAKINGExercise 10:
FOR TEXTURE,
VALUE, AND
FORM

WE ALL HAVE OUR DOODLING STYLES, AND
MARK MAKING IS NOT VERY DIFFERENT. IN THIS
EXERCISE, YOU WILL MAKE MARKS TO PLAY
WITH TEXTURE, VALUE, AND FORM.

1. Choose a pencil, gel pen, 2. Make your marks with a
or paint pen. On your paper, variety of implements and
you will create a grid of four materials, working from left
rows and four columns. to right, with the left being the
Label the rows “stippling lightest mark and the right the
(dots),’’ “directional lines,’’ darkest one. You will have four
“crosshatching,’’ and “texture samples for each technique.
patterns.’’ Your personality will show in
your marks.

38 DRAWING IN BLACK & WHITE

I have my “go to’’ marks, and
I keep a file of the ones I like to
use in detail work for shading.
Some of my favorites can be
seen in these examples.

MATERIALS

Black, gray, or tan
lightweight or heavy
cardstock

Pencil

White gel pen,
black gel pen, or
permanent marker

Paint pen

TIP: You can also make marks in
paint. Before properly cleaning
your brushes, make marks on
scrap pieces of paper to keep
for reference in a mark-making
file. It’s a great way to use up
excess paint on your brush.

TIP: Make marks with toothpicks,
an old comb, tweezers,
paintbrushes with cut tips,
twigs from the garden. Anything
can be a mark-making tool!

MARK MAKING FOR TEXTURE, VALUE, AND FORM 39

CREATEExercise 11:
TEXTURE WITH
WRINKLED AND
FOLDED PAPER

IN THIS EXERCISE, YOU CREATE TEXTURED
AND ABSTRACT ART BY FOLDING, WRINKLING,
OR CRUMPLING PAPER, AND THEN APPLYING
A WASH TO COVER THE SHEET. THESE CAN
BECOME AN ART PIECE OR A GREAT ADDITION TO
YOUR COLLAGE OR DIGITAL LIBRARY FOR LATER
USE. CONSIDER THIS TO BE MARK MAKING ON A
LARGER SCALE.

A

40 DRAWING IN BLACK & WHITE

MATERIALS

Newspaper or large
craft paper

Black, gray, or tan
medium-weight craft
paper (thin enough
to fold or crumple)

Palette

Black or white

B gouache, depending

on the color paper
you choose

Inexpensive brush
for mixing

Mop brush or flat
brush to make wash
strokes

Black or white paint
pen, marker, or gel
pen

C 1. Cover your painting space the gouache with broad strokes

with newspaper or large over the entire sheet. The paint

craft paper. will catch the lines made by the

folds yet leave valleys of white

2. Wrinkle, fold, and crumple space. (See B.)

your paper. (See A.)

5. Study your creation and

3. Open up your paper and lay it decide which marks to make

flat. Lightly smooth it down a bit in the valleys of negative

with your hand. space. Draw directional lines,

stippling (dots), crosshatching,

4. On a palette, mix the gouache or texture patterns in pen.

with water to get a smooth, (See C.) You may choose to

yogurt-like consistency. Use an leave it as is, creating a fun

inexpensive brush for mixing. piece of abstract art.

Using a mop or flat brush, paint

CREATE TEXTURE WITH WRINKLED AND FOLDED PAPER 41

MATERIALS Inexpensive brush Black fine line
for mixing permanent marker
Newspaper or large or any tip shape
craft paper Gray craft paper in you like
Palette heavy cardstock
White gouache White gel pen
Brushes, sizes 2,
4, or 6

Ultra thin brush for
line work

CONNECTExercise 12:
THE DOTS

THIS DRAWING STARTS WITH RANDOM DOTS ON
THE PAGE THAT ARE THEN CONNECTED WITH
LINE WORK IN PEN OR GOUACHE TO CREATE A
DESIGN. EXPERIMENT WITH CONNECTING OTHER
SHAPES, SUCH AS TRIANGLES, SQUARES, OR
RECTANGLES, FOR A FUN VARIATION.

42 DRAWING IN BLACK & WHITE

A B

1. Cover your painting space CONNECT THE DOTS 43
with newspaper or large
craft paper.

2. On a palette, mix the gouache
with water to get a smooth,
yogurt-like consistency. Use
an inexpensive brush to mix
the paint.

3. Load your paintbrush with
paint and apply dots randomly
on your paper. Paint dots of
different sizes, varying the
spacing. (See A.)

4. Connect the dots with the
fine black marker. Move the
pen from dot to dot all over the
page. Move freely on the page
and trust the flow and rhythm of
your hand movements. (See B.)

5. When all the dots are
connected, you can fill the
shapes made by the intersecting
lines using an ultra-thin brush or
a gel pen.

6. The sample shown uses
directional lines to fill shapes.
Fill as many shapes as you like
to complete your design.

7. See variations of designs and
mark-making ideas in the images
at right.

MATERIALS

Newspaper or large
craft paper

White paint pen in a
variety of tip sizes

Black or tan craft
paper or heavy
cardstock

SCRIBBLEExercise 13:
AND FILL

EXPRESSIVE LINES INTERSECT TO CREATE
NEGATIVE SPACE. THEN THE NEGATIVE
SPACE IS FILLED WITH SIMPLE OR
DECORATIVE MARKS. THIS EXERCISE
MAY ALSO BE DONE WITH A BRUSH AND
PAINT FOR A DIFFERENT LOOK.

44 DRAWING IN BLACK & WHITE

A 1. Cover your painting space

with newspaper or large
craft paper.
2. With your paint pen, draw
straight onto the craft paper
or cardstock in a free-flowing
manner. Keep your pen on the
paper until you have filled up the
page. It is best to stand while
doing this part of the exercise.
Put your body into the drawing
as your pen moves freely around
the paper, crossing lines and
circles you’ve already drawn.
(See A.)
3. When you are done with
your free-form scribble, fill the
shapes made by the intersecting

B lines with marks. The sample

shown uses directional lines
and solid coloring to fill shapes.
(See B.)

SCRIBBLE AND FILL 45

MATERIALS Pointed round brush

Newspaper or large Black, gray, or tan
craft paper heavy cardstock or
watercolor paper
White or black
gouache Mop brush

Palette Round brush

Inexpensive brush Flat brush
for mixing
BRUSHExercise 14:
DISCOVERY BELLY HEEL
TOE
IN THIS EXERCISE, YOU WILL EXPLORE YOUR
BRUSHES, THE MARKS THEY CAN MAKE, AND TOE BELLY HEEL
THE BEAUTY YOU CAN CREATE. I WILL SHOW
FOUR BASIC BRUSH TIPS AND THE MARK EACH
MAKES. I OWN MORE THAN 150 BRUSHES,
BUT I ALWAYS GO TO MY FAVORITE SIX FOR
PAINTING. I HEAR THIS A LOT FROM FELLOW
ARTISTS TOO.

TIP: Your hand can HEEL BELLY TOE
control the effect of
the paint depending
on how you hold your
brush. This is true no
matter what the brush
tip might be.

1. Cover your work space with 3. Use a pointed round brush for
newspaper or large craft paper. the start of the exercise. Load
the brush with paint and hold it
2. Put a few generous dots perpendicular to the cardstock
of gouache onto your palette or watercolor paper—at a
and add water slowly. Mix the 90-degree angle—and paint a
gouache to a creamy, yogurt-like few strokes.
consistency. Use an inexpensive
brush to mix the paint.

46 DRAWING IN BLACK & WHITE

TIP: For florals,
study the petals and
then play with brush
pressure to mimic
the shapes.

4. Then try holding the brush like don’t damage the bristles. You 5. Make fine, medium, and thick brush paints until you have to
a pencil, at a 45-degree angle, will see line weights change as lines. Pull the brush left to right reload it with paint. Get a feel for
and paint some strokes. Use the pressure from your hand across the paper and make the brush’s capabilities. Repeat
all the parts of the brush—the changes. Each artist has his or linear rows from the top to the these steps using a mop brush,
toe, the belly, and the heel. her own line personality. bottom of the page. You will get a round brush, and a flat brush.
Go lightly on the heel so you a sense of how long your loaded

POINTED BRUSH MOP BRUSH ROUND BRUSH FLAT BRUSH

Paint with the side of your brush. Place and lift your brush, leaving Use a thick and thin technique Paint with the toe of the brush.
the mop shape wash on your for petal shapes. Working from
paper. thin to thick, push and pull your
brush. Try this pattern with your
brush: toe, belly, toe, belly, toe,
belly, toe.

BRUSH DISCOVERY 47

MATERIALS Inexpensive brush
for mixing
Newspaper or large
craft paper Black heavy
White gouache cardstock or
Palette watercolor paper

Round paintbrush

PAINTING WITHExercise15:
GOUACHE

IN THIS EXERCISE, YOU WILL PAINT WITH
GOUACHE TO CREATE AN ABSTRACT PIECE
IN BLACK AND WHITE. I HAVE WORKED WITH
GOUACHE MY WHOLE CREATIVE CAREER. TO
SAY I LOVE IT IS AN UNDERSTATEMENT. IT IS
THE MOST FORGIVING AND MOST VERSATILE
MEDIUM. IT CAN BE REVIVED AFTER IT DRIES UP
WITH JUST A FEW DROPS OF WATER. GOUACHE
ALSO DRIES QUICKLY AND GIVES AN OPAQUE,
MATTE LOOK.

48 DRAWING IN BLACK & WHITE

VARIOUS CONSISTENCIES OF GOUACHE NOTE: There are three consistencies of 1. Cover your work space with
gouache paint: heavy/creamy (almost the newspaper or large craft paper.
Light consistency of yogurt), medium, and light.
These are achieved by the amount of water 2. Put a few dots of gouache
you mix with the gouache. The creamier onto your palette and slowly
consistency is a flat opaque color. The add water. Mix the gouache to a
medium and light versions give more of a creamy, yogurt-like consistency.
watercolor effect. Use an inexpensive brush to mix
the paint.
Medium
3. Set up the black paper you
Heavy and creamy will paint on.

4. Load the round brush with
white gouache and softly paint
leaf and loop shapes. Painting
these shapes allows you to feel
the flow and movement of the
paint as you push and pull it
across the paper. You will get a
sense for how long your loaded
brush paints before you have
to reload.

5. Paint with the belly of the
brush, which makes for a nice,
thick line.

6. Fill your page, painting
confidently right to the edges of
your paper. I recommend you
glide your strokes off the edges
so there is no visual hesitation in
your stroke.

PAINTING WITH GOUACHE 49