Drawing with Black and White Ink

In this pen and ink lesson, we’ll take a look at drawing a bird in the snow using a combination of black ink, markers and white ink on gray sketch paper. You’ll learn how to use black and white ink to create strong contrast and a full range of value.

We’ll work from observation, using a photo reference. Here’s a look at the photo reference used for this drawing…

We’ll use technical black drawing pens by Staedtler, white gels pens, a white Posca marker, and a few gray scale alcohol-based markers. The paper is Strathmore Toned Gray Sketch paper. We’ll also use an H graphite pencil for sketching the subject.

Sketching The Bird with Graphite

The picture plane measures eight inches across by seven inches tall. I’m using this picture plane to make comparisons with the edges of the picture plane and where the edges of the body of the bird are located. First, I plan out where the top of the head’s going to be located and then, the bottom of the body.

I start drawing my basic shapes, making comparisons between the edges of the picture plane. As each shape is added, I can use this information to make comparisons to ensure accuracy in the shapes that follow.

Add a Light Marker Underpainting

With our sketch in place, we’re ready to start with our marker applications. We’ll use the marker applications as an underpainting. I begin with a 20% warm gray. It’s barely visible on the surface of the paper, because these two grays are pretty similar. I like to start cautiously and gradually darken the values.

After our light applications with the 20% warm gray, we can switch to the 50% warm gray. It’s quite a bit darker and more visible on the surface. We want to be careful, in these early stages, that we don’t get too dark too quickly. We do have the advantage of using the white media that we’ll be applying later in the process, but we still need to work a little cautiously here in the beginning.

Marks added over the branch should curve over the form of the branch. This adds the value obviously, but it also gives us a little bit of information about texture and, more importantly, the form of this particular section.

Shading and Texture with Pen and Ink on the Bird

For now, we’ll go ahead and switch over to our pen and ink applications. For this entire drawing, I use the 0.1 Pigment Liner by Staedtler. Marks flow in the direction that’s consistent with how the small little feathers grow on the head. So it’s very important to think about your directional stroking, especially when you’re using a medium like pen and ink.

Although pen and ink is considered more of a precise technical medium, you can still be rather loose with your applications and still end up with a rather tight drawing. So don’t be afraid to let your hand be a little bit loose when you’re making these marks. If you overtighten or clinch up a little bit, you’re going to find that your marks are too controlled and your drawing will look lifeless.

In the areas where we see lighter values, we’re going to leave those spaces open for now. We’re going to address those a bit later with the white media, but for now, we’re concentrating on the values that exist on the lower part of the value scale or the darker values.

On the talons, we’ll allow these marks to curve over the curved surface. These are called cross contour lines and they help to communicate the form and the texture, while developing the value. And speaking of the branch, we’ll continue down on the branch, with the pen and ink applications. Here again, I’m adding more variety in my mark, leaving some spaces open, but more importantly, I’m making sure that my directional stroking is flowing over the form of the branch.

Adding White Ink to the Body of the Bird

Next, we’ll go ahead and move on to our white media. I start with a gel pen, adding the highlight in the eye and the highlights around the beak. There’s also a bit of snow on the beak here as well. At first, this isn’t going to make very much sense in our drawing, but once we get all the other bits of snow in place and all of the light values, it’ll make more sense. Initially, you can see how much contrast there is when we start applying the white pen.

We’ll go ahead and start working with the white gel pen into the white or light areas in the body of the bird, and we’ll allow some of the pen and ink applications to show through. Of course, the breast of the bird is where we’re going to see the strongest highlight, since our light source is originating from the left side. So we’re going to have a heavier application on the breast of the bird with the white media.

You’ll notice the white gel pen is not quite as consistent with the mark making as the black ink pens, so you’ll need to keep this in mind, of course. Having a somewhat broken line is oftentimes encouraged. Again, that creates more of a realistic appearance.

More Marker

With a good bit of white and black ink on the surface, we can evaluate the values. I see that some grays should be darker. I switch over to the 70% warm gray, which is a much darker marker. Most of these darker values that I add at this point exist on the underside of the shape of lighter value at the top of the head.

We’ll continue with this marker a little bit further down, making some of these areas just slightly darker. Then it’s back with the gel pen, adding a few more highlights.

Next, we switch over to the Posca marker, filling in the shapes of snow. Then, we’ll switch back to the pen and ink. We’ll go ahead and fill in some of the areas that got a little bit too light with our applications with the white media.

Completing the Drawing of Bird

We’ll add a bit of shadow to most of the tufts of snow with 50% warm gray. Then we’ll add a bit of 20% warm gray over the top, to create a little bit of a transition.

Now, we’ll add a few last marks here with pen and ink, adding a few bits of information about some of the smaller feathers while darkening some of the values. We’ll do the same with the white gel pen. Once all of the ink has dried completely, we’ll use a kneaded eraser to remove any remaining graphite lines that are still visible.

Drawing a Bird with White and Black Ink – Conclusion

Now our drawing is complete. Here’s a look at the completed drawing…

White and black ink works well together when the surface is toned. This approach is not recommended if you are working on white paper. I hope that you enjoyed this lesson, and if you drew along with me, I hope that you are happy with your results.

You Need Patience for Realistic Drawing

It’s easy in today’s world to take a look at all of the drawings and paintings that are created by amazing artists all over the world. They share their artworks on YouTube and other social media sites, and usually they’ll show you a time-lapse version of the art creation process. This fools some of us into believing that creating art in a realistic manner can be done in a short period of time.

The truth is that that’s not the case at all. In fact, creating a realistic drawing or painting does take time. In fact, a lot of time – probably more time than you might imagine. So, the mindset we need to have as artists is we need to be patient. This is going to be difficult for some of us to be patient, but if you’re just a little bit more patient with your drawings, you will see improvements. In fact, it’s the easiest way to get better at drawing and painting. Just slow down, be patient, and take each step of the process slowly.

I’m going to share with you one of the modules from one of our courses. The course is Realistic Pencil Drawing, and in this course, we share how to create realistic pencil drawings. This particular exercise is just one small fraction of the course, but it’s an exercise designed to help you get better at being patient. And if you do this exercise and carry the concepts over to your own drawings and paintings, I guarantee you’ll see improvement immediately.

Drawing Exercise to Increase Patience

How do we become more patient with our drawings and paintings? Well, the answer is we need to practice patience, and if we practice it, we’ll get better at it.

In this exercise, we’ll work from a photo reference. You’re not going to know exactly what it is we’re drawing. I’ll reveal that at the end. What I want you to do is just concentrate on the lines, shapes, and values that you see. I want you to create a 3″ by 3″ drawing. But here’s the catch. I want you to spend at least two hours drawing this 3″ by 3″ square with graphite. Take your time, work slowly and be patient.

Here’s a look at the reference photo…

Draw the Contours

We’ll begin by drawing the contours, or outlines, of the subject. We simply need to pay attention to the larger shapes and their boundaries. Draw lightly and loosely in the beginning and use the outer edges of our 3″ by 3″ swatch to make comparisons.

Begin Shading

Next, begin gently adding graphite with the pencil. You can use a blending tool to work the material into the surface to create a smoother appearance. Pay attention to relationships of different values and try to match the darkness and the shape as closely as possible. You should continually move your eyes back and forth from the reference to the drawing paper. Remember, drawing accurately is about observation.

Once we have the larger section covered with graphite, move on to the next section. Here again, we’ll gradually build up darker tones and values. Start lightly and then gradually make the values darker. Be patient and work slowly, concentrating on the texture that produced by the pencil and the surface of the paper.

Add Details with a Sharp Pencil

Now we can add the details and finish of the last section. The detail here resembles a pattern with crisp, deliberate lines. In order to have complete control and mimic the lines that we see as marks, our pencil should be sharp. Sharpen as frequently as possible to replicate the observed pattern.

See also: How to Sharpen Any Pencil

Revealing the Image

Now our small drawing is finished. So what is this? Well, it’s part of a much larger image, of course. We are actually zoomed in really close. If we zoom out, we can see that this is a small section of a larger photo reference.

Now imagine for a moment that we took this small section and drew it in this manner on a large sheet of paper, and this was instead a three-inch by three-inch section of this larger drawing. As you can see, we would end up with a highly realistic pencil drawing.

Realistic Drawing Hack – Conclusion

Hopefully, you now see how important it is to be patient with a realistic drawing. It simply takes time to create a convincing drawing. So, if realism is what you are after, you better be patient. But being patient just might be the big difference maker, and the peice that you’ve been missing.

Drawing a Skull with Charcoal

In this lesson, we’ll work on stipple paper by the Bee Paper Company and complete the drawing of a skull with charcoal. We’ll only use compressed charcoal pencils and sticks. This unique paper features a very unique surface that is heavily textured, which will be important in our final drawing.

Here’s a look at the completed drawing…

See also: How to Draw a Glass of Water with Graphite and Charcoal

Here’s a look at the photo reference…

Graphite Pencil Sketch

We’ll begin the drawing with a HB graphite pencil. I want my marks to be visible, but I want them to be light. We begin by finding a location for the top of our skull and the bottom of our skull.

Then we find the areas where we see strong contrast. I draw lines where I see an edge or a difference in value between dark and light locations. Details are purposely left out. While I’m striving for accuracy, I’m also leaving myself open to some discrepancies between the photo reference and the drawing.

Shading with Charcoal

With my graphite sketch in place, I can switch over to a charcoal pencil for shading and texture. There is no blending or smudging, I’m just going to work with the texture of the paper.

I’m paying attention to the areas of highlight or the areas of lightest value. We want to leave these areas open as we’re adding the charcoal. You’ll also notice that I’m starting on the left side of the picture plane to work my way to the right and lower down the picture plane. I’m doing this simply to keep the palm of my hand out of the way of the drawing so I don’t smear any of the graphite that I’ve applied.

I’m going to go ahead and put a little bit of the dark value behind the back edge of the skull so that I have some contrast there. That will help me better evaluate the values as I add them to the drawing.

Before working too far down the front of the skull, I’m going to go ahead and add some tone and value to the top part of the skull. I’m using an extremely light touch with the charcoal pencil. You can see I’m holding the pencil very low down on the shaft so that it’s just barely making contact with the surface of the paper. As we make strokes with the pencil, we’re considering the cross contours or the plane in which each one of the marks is crossing over. This is going to affect the directional stroke that I make, and it’s also going to help create the illusion of form.

See also: Charcoal Drawing of a Skull in 45 Minutes

Working Down the Skull

As we continue to work our way down the picture plane, I’m going to add a little bit more of that dark background at the top. Then it’s back to the center part of the skull, working in one of the eye openings. In this eye opening on the right, we can see some subtle shifts of value inside. Since this sketch is loose and quick and since the surface dictates it, we’re not going to include all the details that we see. We just want an impression of the skull. We want a loose sketch, and this paper helps us to achieve that loose look.

Our light source is originating from the right side of the picture plane. This means that all of the parts of the skull that stick out or protrude are going to be lighter on the right side compared to the left side. Even still, we still need to make some of the values on the right side a little bit darker, so instead of leaving them white, we’re going to create areas of gray. We just want to make sure that our value contrast is there so that we preserve the illusion of the light source in the final drawing.

As we work down to the lower part of the skull and in the teeth section, I’m going to give an impression of the teeth, without defining all of the details. Since we only really clearly see the right side of the bottom of the jawbone, I’m only going to include a range of value here. On the left side, we’re going to focus mainly on the shadowed shapes that we see.

Finishing the Skull Drawing

Now we’ll finish the drawing by simply filling in the background with a heavy application of compressed charcoal.

Now our drawing of a skull with charcoal is complete.

Spooky Skull Sketch – Conclusion

A skull is certainly a spooky subject, but it’s also a great subject for practicing drawing. Every skull is slightly different and the light can be dramatically different. This provides a nice challenge. Skulls have been the subject of countless artworks and is one of my favorite things to draw. I hope this lesson helps you draw your own skull.