25 Days to Better Drawings: Drawing in Reverse

Lesson Description

Lesson 24 of the 25 Days to Better Drawings course introduces students to the unique approach of drawing with white media on black paper. While most traditional drawing focuses on dark lines and shading on light surfaces, working in reverse opens new possibilities for contrast, highlights, and visual impact. In this lesson, students learn to think in terms of light rather than shadow, using white charcoal on black drawing paper to create a high-contrast portrait of a young girl.

Matt emphasizes that drawing with white media is not merely a novelty; it encourages a different way of seeing. Artists must focus on the lights—the highlights and reflective surfaces—rather than filling in shadows. This shift enhances observational skills and develops a stronger understanding of form, value, and contrast.

Understanding the Concept of Drawing in Reverse

The lesson begins by explaining the concept of “reverse drawing,” where the black paper represents the darkest values, and the white charcoal is used to build midtones and highlights. Matt explains that this method can help artists better understand light and form because it forces the eye to identify the brightest points and the shapes they create. The negative space—the untouched black paper—becomes the shadow, creating depth and dimension naturally.

Matt highlights that white media requires careful planning, as every mark is additive rather than subtractive. Unlike graphite on white paper, where shading can gradually darken areas, white charcoal requires students to build light strategically. This approach encourages mindfulness in observing the reference and strengthens control over mark-making.

Materials and Preparation

Before starting the portrait, Matt reviews the materials needed for the lesson. White charcoal is the primary medium, chosen for its versatility and ability to produce soft highlights and bold, dramatic marks. Black drawing paper provides a rich background that amplifies contrast and enhances the visual impact of the artwork. Matt also recommends having blending tools such as tortillons or soft brushes to smooth transitions between lighter areas, and an eraser for refining highlights and edges.

Students are instructed to secure their paper on a drawing board and lightly plan the composition by sketching the basic outline of the face and major features with gentle white charcoal lines. This preliminary step ensures the portrait is well-placed and proportionally accurate before committing to highlights and detailed work.

Sketching the Portrait

The drawing process begins with a light outline of the young girl’s face, including placement of the eyes, nose, mouth, and overall head shape. Matt emphasizes accuracy in proportion and alignment, noting that mistakes are more difficult to correct on black paper. Students focus on mapping the areas that will receive the brightest highlights first, as these points will guide the development of the entire portrait.

Matt demonstrates how to work from general forms to details. For example, the planes of the face are suggested by layering soft applications of white charcoal, gradually increasing the intensity of the highlights on the forehead, cheekbones, nose tip, and chin. This method allows the face to emerge naturally from the dark background, giving the portrait a striking three-dimensional quality.

Refining Light and Contrast

As the portrait progresses, Matt teaches techniques for refining the contrast and enhancing the sense of depth. Students learn to carefully modulate pressure on the charcoal to create subtle gradations, from soft midtones to intense highlights. Blending tools are used to smooth transitions and give the skin a natural, luminous quality.

Special attention is paid to the eyes, lips, and hair, where careful use of white charcoal can convey form, texture, and light reflection. Matt demonstrates how to selectively leave areas of the black paper untouched to create shadow and negative space, reinforcing the depth and structure of the portrait. By continually comparing to the reference, students ensure that highlights and shadows are consistent with the lighting of the subject.

Final Touches and Observational Insights

In the final stage of the lesson, Matt shows how to refine edges, add small highlights to enhance the three-dimensional effect, and create subtle details in the hair and facial features. The high contrast achieved through white charcoal on black paper makes the portrait visually striking while reinforcing the principles of light and form.

Lesson 24 concludes with a discussion on how drawing with white media improves observational skills and encourages artists to think differently about light, shadow, and value. By focusing on highlights rather than shadows, students develop a stronger sense of form and contrast that can be applied to any drawing medium.

Through careful practice of this technique, students gain confidence in using high-contrast media, learn to control white charcoal effectively, and deepen their understanding of light and value relationships in portraiture. This lesson not only produces a visually impactful drawing but also strengthens foundational skills essential for all forms of representational art.

Lesson Materials

White charcoal pencil, kneaded eraser, eraser pencil (optional) and black drawing paper.

Lesson Resources

Distributing any content downloaded from this site is strictly prohibited and against the terms and conditions of use.

Download eBook

Reference Image

Course Curriculum