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    Drawing Silhouettes

    How to Draw Perfect Hearts for Valentines Day How to Draw Cupid
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    Drawing Solid Black on White Effects - Silhouettes

    Solid Blacks.

    Drawing Solid Black on White Effects - Silhouettes

    The placing of solid blacks should be done very carefully. Until the pupil has had adequate practice it will be well for him to outline in pen and ink the spaces to be filled with solid black, before applying the brush. (See Fig. 1.) This process will prevent the abrupt or uneven edges frequently found in the brush work of the beginner. The brush should be used with just sufficient of the black pigment to produce denseness when the ink has dried. The best results are obtained by putting the blacks in after, the pencil sketch, or guide lines, have been erased. Otherwise, the rubber eraser may remove part of the black surfaces, leaving them somewhat grayish.

    Methodical Brush Handling.

    The brush should be used methodically. It should not be splashed back and forth.

    The brush should be used methodically. It should not be splashed back and forth. (See Fig. 2.)

    A good way is to commence at the upper parts of the spaces to be covered and slowly work downward.

    A good way is to commence at the upper parts of the spaces to be covered and slowly work downward. (See Fig. 3.)

    Things to Be Avoided.

    To get so much ink on the brush that it will drip.

    To get so little ink on the brush that the blacks are semitransparent or streaky.

    The advice given just above applies to brush work generally.

    It will repay the effort to make several drawings of an experimental character showing how effective a picture can be that is made tip of merely simple outlines fortified by solid black masses thrown in by means of a pliable pen or a small brush.

    For practice, two drawings should be made as nearly alike as possible. On one of them, with pencil, the places intended for solid blacks should be outlined and then filled. The other should remain in outline.

    The difference between the drawings respectively with and without'the solid blacks are to be noted and their respective merits compared.

    Black and White Exercises for Brush and Pen

    Black and White Exercises for Brush and Pen

    The examples on this and the following pages (Figs. 6 and 7) are simple exercises in pen and ink and brush combined.

    The circles are used to give a sort of frame to the little designs and to add a sense of regularity in the matter of shape. Make the circles first in pen and ink, whether the outlines which they enclose are made with pencil guide lines or not.

    A and B should be made with pen and ink without the aid of pencil outlines.

    In C, make the horizon line in pencil before using pen or brush.

    In D, indicate the mass of the foliage before using pen or brush. E should have penciled outline for all details and pen-and-ink out-lines should be made for the areas which are to be completed with the brush.

    F—Outlines in pencil only.

    G and H are exercises for brush only, without any guiding lines.

    I—Pen outline for the moon and the upper outlines of ti-e battlements of the castle and for its doors and windows.

    Black and White Exercises for Brush and Pen

    J—Outlines in pencil for the branches only, which in turn may be made with strong pen lines ; the leaves to be added free-hand with a brush

    K—is to be outlined with pencil and completed entirely with brush.

    L— is to be outlined with pen only and completed with the brush.

    M, N and 0—Outline with pencil and complete with pen and brush.

    P and Q—Outline with pencil and complete with a brush.

    R — Outline with Pen without pencil guides and complete with brush. In each case, after the drawings are quite dry, erase the pencil lines.

    Solid Blacks.

    The solid black exercise previously described may be used in connection with pencil or pen effects by adding other details, either background or foreground, to the objects drawn in solid black. The best effects are secured by making these additions in a monotone, in order to secure a happy contrast between the two treatments. That is to say, no attempt need be made to blend the black subjects to the added detail.

     

     

     

       

     

     

     

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