He In this lesson, I'm going to show you how to work on black paper. And I will explain what works and what doesn't work on black. At some point, it will be great if you start drawing on toned and colored papers. And I think around black could be a lot of fun. If you know how to use it well draw on black people when your image has a lot of black, brown or blue black in the app. Some artists create striking black and white artwork using a single white pencil.

If you love color, like I do, drawing on black paper can be fun, but you need to understand its unique properties. So you you will use this paper to his fullest potential. It's Scholar Award The absence of it represents several challenges for the artist. First of all, usually the colors look dollar hues lose their color in density on black paper, mania, dark and medium colors simply disappear on this paper. Second because shading is limited to lighter colors, it may be difficult to create an illusion of volume. So just see what images would work better than others.

And thirdly, you can sketch with graphite pencil on black paper is a doesn't show on that. And that's why image transferal is effective with white transfer paper only. First thing is to test all the colors you have on black paper making color swatches. It will help you to see which use stand out and which disappear on black in the role One you see how light colors looks super vibrant while darker colors in the road to varying color intensity significantly. One of the techniques used when colors become dull is to make a white on the painting using a white colored pencil first, and then shading this colors over it. You can see this in row three.

And the example you can see how much brighter the colors become been shaded over the white, including the darker hues is this method. The challenge for beginners will get to think in advance about how you can create values in the form, shading in white and then in color. I think a more efficient way of making the colors pop on black paper is to use a spray fixative spray the people once the outline is on it and then spray it in between the layers while you shade. Depending on paper and fixative brand, workable fixative may not work as well as the final one, try spraying your artwork with a light coat of final fixative. To create your artwork use the colors that appear brighter naturally. Medium light to very light pencils look vibrant on black paper.

Metallic colored pencils do appear metallic drawn on black paper. You can see that they're even more vibrant shaded on black, rather than on black with white pencil. the shame of the metallics usually disappears if shaded on white paper. And also try to draw on smooth black paper that has just enough texture to grab the pencil. I'm using green or black drawing paper pad Prismacolor premium current dodge public colored pencils by transfer paper kneaded eraser and final fix itself. Here you see the colors I'm using in the color chart.

This image has lots of black on it and therefore is a good candidate for drawing on black paper. Also, the father has a limited palette is just a few low Chroma browns and grays. In this project, you'll see how I'm opening it up to creative interpretation. I introduced more color into my drawing that harmonizes well with browns and grays I transfer my outlines use wide transfer paper before you Begin shading please spray your image, your colors are going to appear much brighter. Okay, next thing is to determine what light what's dark. And once you know what's going to be alive in your image you want to separate between cool and warm while I separate the warm and cool colors I see in the light.

The Lions had a right eye and leaves have cool lights set against neutral brown gray hues. While the face and door handle have warm brown orange hues. I focus on the cool light and Roy Davis consistency. That's why you see me shading with white and Pablo silver gray. It doesn't really look silver It's very similar to Prismacolor Santa sanko gray and a slightly less bright than pure white colored pencil. Your very pencil pressure.

If you see something as the brightest white, you can press on your pencil a lot harder. It's okay to come back and brighten the colors once again if you need to. I'm trying to make them have the right value right from the start. I follow the button on the way and just focus on the light if the wire does not quite wide but a little bit duller, just switching and using my light gray colored pencil and remember we are going to create variations and create tones between the lights and darks. But as of now we are just focusing on the brightest lights Here you can see that it's possible to create an artwork in the white only by wearing pencil pressure and stroke direction I need to have Some color in black to draw out the darkest shapes and shadows even though they seem to fall in complete darkness and appear black in the image.

These areas are the form shadow in the ring the darks in the handle, and the lines here on the left side and under the lines chin. I'm baking Prismacolor black raspberry and Pablo Malika green to shade this area's in the dark. In a dark color, they'll work instead of black raspberry, but this color has some red in it that harmonizes well with the browns and orange. Pablo Molokai green is a much darker version of the same color seen in cool lights on the metal, such as the lines here on the right side and some leaves. On one side place these shadows I create the golden colors mouth and handle. It's a misconception to use metallic pencils to depict metal surfaces.

The important thing is to see colorful reflections in the metal noticing its color temperature to map out the warm golden handle and the lion's mouth. I'm shading this Prismacolor orange Spanish orange brown darker nectar and Why'd I say this white using the heaviest pressure. I also be attention to the curvature of the stripes. If I make them linear, the handle will look flat. And while I'm shading, I'm paying attention to the symmetry and evenness of the shapes to Also Prismacolor Jade green is the light cool green that makes a nice transition between the darkest shadows and the highlights. Don't be a slave to your camera or a picture.

Just find colors that make a statement and harmonize the well with the lights. When I noticed my mistakes in the handle for instance, I tried to fix them up in my next step To add stronger color in the eyes. I'm saving this public turquoise blue very lightly you can see a darker version of this turquoise color in the shadows. Because Bob lamella tried green makes us with Jade green and gray giving a similar view on a bit darker. To save the face, I put some color underneath the grace. For that I use black raspberry in the dark.

You use Aqua yellow orange and the yellow ochre on the lions forehead On the face some areas around the highlights look, light blue and I use Jade green and white, public silver gray Most of the drawing in the loose and background is done this three Gray's Prisma color 90% warm gray is in the deepest shadows and shapes outlines that appear very close to being black Prismacolor 90% French grade is the medium dark berries and 70% French gray is a medium they'll use white and Pablo silver gray make up the highlights 90% one gray for the deepest shadows. You can also define the shapes better color because it's so close to black but add a little bit of color My strawberry direction all right these each leaf and stem. Also I make tiny strokes to draw out veins in the leaves and section in the stems. Once every leaf is done and I have cast shadows under the leaves, I shade the background In the background, I use the same three gray 70% French gray at the bottom 90% French gray in the middle, and 90% one gray at the top.

And once again the stroke direction separates the background from my subject isn't tension I stayed up and down in parallel strokes that go against the texture and stroke variation seen in the lips. Once they in that image they say that in grace only, I can add fractions of colors previously used in the line and the handle. For instance, the lightest areas in the background can have some yellow orange in warm lights are Jade green in coal light. Keep a very light touch when to shade I also see a lot of j the green in the color of the leaves and in the background. So I could add this color as the light that tone in some of the leaves where I see it like over here and that makes basic colors look alive and let's create the unit here throughout your drawing because basically you use very few of themselves but because you use them since consistently, and throughout your drying, it becomes very powerful and it looks unified as well.

Some of the petals can have nectar and Jade green too. And as you keep adding touches of color, you keep watching your Values they'll use meals light and dark. If the error is very light, you keep adding the white or off white color. If you see it's quite dark you use the color that represents it. Despite what color you use, you just want to keep that idea going. You always look for light and dark and find the colored pencil that matches that lightness or darkness and anything fractions of colors where I see them.

I also see that the lightest area in the image is this one. I pushed the lights over here to its maximum potential when you lay your colored pencil mania times the surface becomes waxy, and you feel like you are unable to layer more pigment on top of this. That's why I take my drawing outside, I spray it, let it dry and keep layering the pigment. Again, the fix itself allows me to work on the paper a little bit longer than you normally could. Usually I use the final fixative because I think that the workable fix itself doesn't quite work this black tried to keep up with the general shape of your object. For instance, while we said we tend to lose the shape itself.

That's why it's important to outline the edge if you want it to be sharp, but then you see the right next to that outline and that falls back. At the same time the area becomes sharp. This is something that you do throughout your image. Whenever you need to outline you do outline like over here to bring it into focus more. But at the same time when I outline I shade right next to that line and that becomes part of the shadow. So it feels like this edge comes forward more because I'm pushing this black back.

And if you need definition, you definitely put it back with sharp colored pencil. And then you step back and look at your image from the distance to check values and edges if you want some of the edges to sharper you just outline them, and shade right next to them. But if you see that everything is too sharp, you try to soften some of the areas like I made sure that this space looks quite undefined. I didn't outline stuff in here and I also kept the color, law Chroma and dark, this space falls back into the shadow more than this. That's in the light. That's how you create contrast.

You constantly think of the light and how it passes through your subject. And as you keep shading, you keep thinking about it that this space needs to stay the lightest than this space needs to be the darkest And as usual, I step back to check the accuracy of my drawing. I think of the form its definition and the roundness which informs me about shading method. I asked myself if the edges are sharp in the face and the handle and if other edges are soft enough in the cast shadows under the leaves. I also look at contrast in the leaves and handle and if I like the drawing, I spray it with a final fixative and it's done. If you like my demonstrations if you enjoy and learn a lot in this class Please share my video course with your friends, let them know that it is available.

I appreciate you taking the time watching this class. And if you'd like to leave a testimonial, just shoot me an email or contact me via Facebook. Thanks for watching. If you have any questions, please let me know. And I will see you in our next lesson.