Black Paper Drawing
©2011 Kevin Grass
Objectives: For all of the assignments this semester we have used papers that range from white
to medium gray in value. Such paper works very well when drawing subjects that occur in
normal lighting situations, but for more extreme chiaroscuro situations it may be more
appropriate to use dark paper as the basis for the drawing. It is much easier to build up
highlights on dark paper using white charcoal in such instances than it would be to develop the
dark values using black charcoal on a lighter paper.
The still life for this assignment will be placed in front of a dark or black background and
illuminated by an intense light source. White charcoal will be used on black paper to complete
the drawing. The key to success in this assignment is to work in completely in reverse of a
typical drawing on light paper with black charcoal.
The following are the objectives for the assignment:
Carefully arrange a still life composed of one or more subjects in front of a dark
background.
Illuminate the still life with a strong artificial light source to create distinct light and dark
areas within the subjects.
Begin with a two-value block-in of the subjects using white charcoal.
Use erasers to develop darks within the drawing.
Clearly address all conditions of light using the white charcoal on black paper (highlight,
halftone, core shadow, reflected light, cast shadow).
Carefully analyze and compare the values in your drawing to one another, to those in
the still life, and to examples provided in the Introduction and Student Examples
presentations for this assignment, adjusting the drawing as needed.
Create a well-unified, solid sense of light and form.
Maintain a consistent drawing style throughout the piece.
Estimated time for the assignment: 10 - 12 hours
Medium: White charcoal pencils on black Canson Mi-Tientes toned paper.
Optional Materials: Blending stumps and a chamois cloth.
Size: Full sheet, 18” x 24”. The paper will need to be cut to this size so that it fits comfortably
onto your drawing board.
Technique: Use a white charcoal pencil to begin the drawing, addressing proportion, scale,
placement, perspective, and the shapes of the cast shadows (A). One flat, uniform value should
be used to address the light areas in the drawing (B). A full range of value should then be
introduced, beginning in the lightest portions of the subject (C). Values and gradations need to
be developed within all of the shapes, including the background and ground plane, and all parts
of the light and shadow areas must be addressed within the subjects (highlight, halftone, core
shadow, reflected light, cast shadow).
Blending stumps and a chamois cloth may be used for this drawing. If you decide to use them,
they need to be introduced into the drawing process at the two-value block-in stage of the
drawing (B).
A
B
C
Subject: Any subject may be used for this drawing. It would be a good idea to either set up a
still life consisting of subjects of varying complexity or to use one or two complex forms. The
subject must be placed in front of a dark surface and should be illuminated from either the left
or right by a strong artificial light source. Arrange the lighting so that the shadows are strong
shapes that will be easier to evaluate.
Design: This drawing may utilize either a closed composition or an open composition within a
vertical or horizontal format. At least 3 to 4 thumbnails must be completed if an open
composition will be used for this drawing.
Additional instructions: Drawings may be either horizontal or vertical in their orientation.
Though drawings need a significant amount of contrast, they need not be as extreme as the
examples illustrated below.
The most important thing to remember about this drawing is that decisions need to be made in
reverse of a drawing on white paper with black charcoal. When darks need to be added to the
drawing, they need to be developed using either a kneaded or a white plastic eraser.