2. As we begin to add light and dark to your
drawings, it is important to try and add these
tones in a convincing way.
3. Working with two-point perspective you can easily guess at
how to apply your grey tones. In this image you can see
that the sides of the forms facing the same direction have all
been shaded in the same way.
4. In this image a dark shadow has been added to help
further create convincing space. The shadow was found
by following the vanishing point that was used to draw the
tall building which is casting the shadow.
5. The shadows cast by the buildings are also
following the vanishing points and they occur on
the same side of the buildings that are shaded.
6. We began our drawings
with simple outlines.
The next step is to add a few different
tones of grey, providing some
definition to the drawing.
Our final step will be adding blacks to the
drawing using pen and ink to show detail and
dark shadows.
7. INK WASH: THE BLACK AND WHITE
"WATERCOLOR"
Black ink is a powerful and unpredictable ally that
when tamed, produces delicate gray washes that are
very unique. They can be controlled as smooth layers
just like watercolor applications or allowed to "do its
thing" by giving it motion freedom. Let's look as some
typical wash samples. Above each is a small brush
application of that technique.
8. A blended wash can have value
contrasts very tightly (left) or less
controlled (right). Ink is applied
first. The resulting grays are
pushed and pulled into
smoothness by additional water
and brush containment.
9. Wet ink on wet paper is
"runny". Bold thrusts of black
swirl into the water ending in
smokey tendrils and feathered
grays. Each touch of new water
and ink causes new stirrings.
The brush merely applies and
lets the unexpected happen.
Ink paper is best for this effect.
10. Wet into partially wet background
forces grays to have a hard white
line where it hits bare, dry paper
spots. This increases the
reflection effect and affords
whiter "whites" in the drawing.
11. Salt added to wet washes (top
left) creates a spotted texture (top
right). Some salt absorbs the
wash and makes those spots
lighter. Some ink settles around
the salt grains and effects a black
pitted texture. This can add nice
texture to the ground or a
building.
12. Dry brush is a less detailed,
broad stroke application. The
brush is dabbed on a towel to
remove excess ink and
immediately stroked on the
paper in several directions.
