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Black And White Art Techniques.

Try Long Exposure. Long exposure shots may work really well in monochrome photography, especially where there’s moving water or clouds. During the exposure the highlights of the water, for example, are recorded across a wider area than they would with a short exposure and this could help enhance tonal contrast. The blurring of the movement also adds textural contrast with any solid objects in the frame. If required , use a neutral density filter such as Lee Filters’ Big Stopper or Little Stopper to decrease exposure and extend shutter speed (by 10 and 4 stops respectively). classically , when exposures extend beyond regarding 1/60 sec a tripod is wanted to keep the camera still and avoid blurring. It’s also advisable to use a remote release and mirror lock-up to minimise vibration and produce super-sharp images.

Shoot RAW + JPEG. The greatest monochrome conversions are winded up at by editing raw files which have the full colour information, but if you shoot raw and JPEG files simultaneously and set the camera to its monochrome picture Style/Picture Control/Film Simulation mode you get an indication of how the image will look in black and white. As many photographers struggle to visualise a scene in black and white, these monochrome modes are an invaluable tool that will help with composition and scene assessment. numerous cameras are also capable of producing decent in-camera monochrome images these days and it’s worth experimenting with image parameters (usually contrast, sharpness, filter effects and toning) to find a look that you like. Because compact approach cameras and compact cameras show the scene seen by the sensor with camera settings applied, users of these cameras are able to preview the monochrome image in the electronic viewfinder or on rear screen before taking the shot. DSLR users can also do this if they kick in her camera’s live theory lane , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are purely as useful in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more useful . An ND grad is helpful when you want to retain detail in a bright sky while a polarizing filter may be used to decrease reflections and boost contrast. Alternatively, view taking two or more shots with different exposures to create a high dynamic range (HDR) composite. Don’t be afraid to use a ND grad with a standard neural density filter if the sky is brighter than the foreground in a long exposure shot. Coloured filters, which are an essential tool for monochrome film photographers, could also be useful for manipulating contrast in digital images. They work by darkening objects of his opposite colour while lightening objects of her own. An orange filter, for example, will darken the blue of the sky while a green one will lighten foliage.

Take Control. Although coloured filters can still be used to manipulate contrast when shooting digital black and white images, it’s more common to save this work until the processing stage. Until a few years ago Photoshop’s Channel Mixer was the favored means of turning colour images monochrome, but now Adobe Camera Raw has more strong tools (in the HSL/Grayscale tab) that allow you to adjust the brightness of eight individual colours that make up the image. It’s possible to adjust one of these colours to make it anything from white to black with the sliding control. However, it’s important to keep an eye on the whole image when adjusting a particular colour as crafty gradations may become unnatural looking. And adjusting the brightness of a red or pinkish shirt with the red sliding control, for moment , will have an impact on the model’s skin, especially the lips. The Levels and Curves controls can also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create delineation between objects of the same brightness but with diverse colours.

Dodge and Burn. Dodging and burning is a peculiarity that comes from the traditional darkroom and is usually used to burn in or darken highlights and hold back (brighten) shadows. Photoshop’s Dodge and Burn tools allow a level of control that film photographers should only hope of because you should target the highlights, shadows or mid-tones with both. This means that you could use the Burn tool to darken highlights when they are too bright, or the Dodge tool to brighten up them to increase local contrast. It’s a good procedure of sharing a sense of greater sharpness and enhancing texture. Plus, because you may set the opacity of the tools, you should build up his effect gradually so the impact is crafty and there are no hard edges.

Look for Contrast, Shape and Texture. The complimentary and opposing colours that bring a colour image to life are all reduced to black and white or shades of grey in a monochrome image and you have to look for tonal contrast to make a shot stand out. In colour photography, for example, your eye would right now be drawn to a red object on a green background, but in monochrome photography these two areas are likely to have the same brightness, so the image looks flat and dingy straight from the camera. providentially , it’s possible to work adjust the brightness of these two colours singly to introduce some contrast. However, a great starting point is to look for scenes with tonal contrast. There are always exceptions, but as a general rule look for scenes that contain some powerful blacks and whites. This can be achieved by the light or by the brightness (or tone) of the objects in the scene as well as the exposure settings that you use. The brightness of the bark of a silver birch tree for example, may inject some contrast (and interest) in to a woodland scene. Setting the exposure for these brighter areas also makes the shadows darker, so the highlights stand out even more. Look for shapes, patterns and textures in a scene and move around to find the greatest composition.

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This article originally appeared in ImagineFX magazine issue 100.

Drawing techniques: 7 fundamentals of pencil drawing06. Keep it light 

Behold the humble pencil: so simple and basic yet so full of possibilities. Like handwriting, everybody draws differently from everybody else. Our various styles will inform how we use our pencils so experiment with different types of pencil marks to get the full range of use out of your pencil. This will be valuable especially when using different types of marks to describe textures and elements as completely different things.

Just like when drawing with ballpoint pen, a blank sheet of scrap paper can come in handy when drawing with pencils too. Pencil drawings—particularly those done with B pencils—can smudge very easily so I like to put a blank sheet of paper under the heel of my hand as I draw so as to protect my work in progress.

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When working with markers, do a rough sketch of your idea in pencil first before making permanent marker pen marks. The great thing about sketching a marker drawing in pencil first is that after the marker ink has dried, you can take an eraser to the entire illustration and remove the initial pencil sketch, leaving the marker intact.

Hopefully these next tips will help you get over the learning curve quickly and with ease.

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Once you’ve painted a shape that you’re pretty happy with, it’s time to start adding in some values. When doing this I don’t tend to use any values that are too bright or too dark, I like to keep things subtle while I’m building up the shape. I keep things pretty sketchy and gently add in some subtle shadows and highlights to find the structure of the body.

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Pencils are versatile for all the different marks they can make

We can do a lot with one pencil but we can broaden our range of values if we use a variety of pencils. I prefer to use two or three different pencils, starting with a 2H. Pencils with the letter “H” have harder lead, which won’t mark my paper as much so their lines will have a lighter tone. “B” pencils make blacker marks than H, so I use these more towards finish.

I start out with a simple silhouette and then build up to a refined design. This technique also makes creating any variations on the character very simple too, because there’s no need to worry about interfering with any colours you’ve painted.

You’re here > Home > Features > Illustration & Art 38 tips for creating stunning black-&-white art

Have a look at the video below, then read on for nine tips for creating beautiful black and white drawings – or blue and white, if that’s your thing…

Before I begin drawing in earnest, I like to first plan out my drawings using small thumbnails. Regardless of what drawing tool I’m using, thumbnails help me figure out composition and readability, which helps me avoid errors before I commit them to paper. Employing thumbnails also allows me to explore ideas quickly and by sketching small, I force myself to simplify and focus only on the important elements of my drawings.

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When drawing with pencils, we tend to make lines too dark too early. We should sketch with light lines because these only suggest edges and borders; dark lines are for the later stages because they are definitive and not open to interpretation. Lines can darken prematurely if it takes a few tries to get the exact line you want. If that happens, slow down and be more careful; speed up again once you get the hang of it.

Subtle highlights and shadows help define the structure of the body

Ballpoint pens make readily accessible and easy to use drawing tools for black and white pictures. They also present their own challenges and limitless possibilities, which we’ll explore in these drawing tips.

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Remember to try and vary the values you’re choosing. You can use bright white highlights right through to dark greys and black. If you just stick to the middle ground and only use grey it can make things look a little flat.

Painting in black and white is great, because it makes you concentrate on elements such as composition, value, lighting and form. Of course, colour is a vital step, but the benefit of black and white is that you can focus on the image as a whole.

You might prefer to draw your black and white artworks in pencil or with marker pens, which we’ll explore too (or if you’d rather try charcoal, check out these 10 expert tips for charcoal drawing).

Painting in black and white means you can focus on the image as a whole and resolve any glaring issues before you get to the colour stage. From here it’s pretty easy to just keep building up the detail until you’re ready to either go to colour or simply leave it as black and white.

This may seem like an odd way to start an article on black and white drawings, but when I was a kid, my favourite drawing tool was a blue crayon. I drew everything in that one colour – the sky, the sea – and things that weren’t even blue, like my neighbour’s cat, our house, and my family. These monochrome drawings helped me develop the skills to know how to draw in black and white.

Sketch with non-permanent pencil before using permanent marker

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Ballpoint pens are great to draw with because we can make beautifully thin lines with them and create a lot of contrast. However, pens can also be very unforgiving: every mark is permanent – and so is every errant ink blotch! A big ink blotch could suddenly form and ruin your drawing forever. 

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Topics Black & white, Internal promotion, Tips, Illustration Read next Portfolio: Lok Ng Affinity Designer is the First Professional-Level Vector Graphics and Art App for the iPad Portfolio: Andrew Wong Complete our survey for a chance to win Portfolio: Jonathan Ball 86 Best Photoshop tutorials Comments

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I’m happy with the shape and structure so it’s time to add in details. This is one of my favourite stages and I could happily detail characters all day long. I start to add in those dark shadows and bright highlights to really bring out the form of the character. I stick with a fairly small soft brush, sketch in and then build up those details, refining as I go.

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First things first – I block out the character’s basic silhouette. I always try and keep things fairly rough at this point and avoid going into any detail too soon. Whether your character is a little kid or a hulking great giant, this is the time to focus on their shape and try and emphasise their character. Experiment with silhouettes until you find one you like.

To prevent this, periodically roll the sides of your pen tip on a scrap sheet of paper to remove ink buildup.

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When drawing with markers, try to get a variety of black tones to work with in order to create a maximum range of values. Markers draw really quick and clean but can be a little difficult to work with if you’re not used to the starkness and graphic nature of marker work. 

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Super-useful advice and techniques from 10 illustrators for creating black-and-white artworks – using pens, paints or digital tools.

Most of the time I opt for a black and white process. Here, I’m going to use the example of a character design, and run through some simple painting techniques you can use to get your black and white designs up to scratch.

Because markers use so much ink, they tend to run out quickly. However, just because a marker is fading doesn’t mean it’s not useful anymore. Markers that are running out of ink are great for creating texture or blending together tones. I find them just as necessary in the drawing process as fresh new markers.

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