The Magic of Drawing in Black and White
Drawing in black and white, which is also referred to as monochromatic or grayscale drawing, is timeless and can be highly versatile. It can evoke strong emotions, convey powerful messages, and tell compelling stories. Just think of the black and white lithograph versions of “The Scream” by Edvard Munch, for example.
Black and white drawing has a long history, dating all the way back to prehistoric cave art. It flourished during the Renaissance. Leonardo da Vinci (“The Vitruvian Man” instantly comes to mind), Albert Dürer, with his detailed and intricate engravings, and Henri Matisse, with his expressive use of line, are just a few of the artists whose iconic works made significant contributions to this art form. As Matisse passionately stated: “I’ve been forty years discovering that the queen of all color is black.”
Over time, the boundaries of black and white have expanded, and it is still evolving and changing today, promoted by contemporary artists such as Chuck Close and Roberto Longo.
Perhaps one of the artists whose work in grayscale had the most lasting impact is M.C. Escher, who created detailed ink illustrations like “Drawing Hands” and “Relativity.” Could you imagine these pieces in color?
Monochromatic drawings in grayscale can be produced using various materials, including graphite, charcoal, Conté crayons, ink, pen and ink, and charcoal pencils. Each offers distinct qualities, allowing us to create a wide range of effects. Personally, I draw mostly with ink or pen and ink.
Much like any other material or medium, black and white drawing comes with its own set of challenges. Indeed, it is a big challenge to take away color and let go of all it can provide, both technically and in terms of creating atmosphere, evoking emotions, setting the scene, etc. When you opt for a monochromatic approach, you need to carefully plan the composition, considering the focal point, as well as the transitions between forms, in such a way as to make sure to keep areas and components separate and distinctive, and convey your story or message clearly to the viewer.
Another thing to remember is that drawing with ink or pen and ink is, by nature, less forgiving. You can’t erase an unwanted line once you place it somewhere. And while you can, to some extent and with limited efficiency, usually find a solution of sorts, such as using a white correction marker, every random splatter needs to be accounted for and addressed. So you have to be meticulous when working on a detailed piece, but also ready and able to solve little “problems” creatively, as they are sure to crop up at some point or another. Still, it’s important to let a piece grow and evolve as you work. Sometimes, all those little splatters and unexpected tiny “imperfections” become part of what makes a drawing interesting and engaging.
Another favorite challenge of mine is the need to constantly come up with new textures, patterns, and variations to distinguish different areas and objects from one another so they don’t blend together in the eye of the viewer.
I’m constantly fascinated by how opulent a scene in black and white can become, and how charming and full of joy it can be. Rob Sheppard said that “black and white can transform a scene into something magical.” I find this to be true for drawing as much as it is for photography.
Although I’ve used grayscale in illustrations in the past (e.g., in my children’s book A Tale of Leaping Eggs), I only began drawing in black and white fairly recently, about 2 years ago. I had just finished writing a children’s book at the time (not yet titled, not yet published), and moved on to the task of illustrating it. However, none of the sketches I made felt quite right. I tried different approaches, I redesigned the characters, switched materials, played with the frame and the layouts and so on, but nothing seemed to fit. When that happens, it’s best not to force it. I usually set the project aside and work on other things for a while. Then one day, it suddenly dawned on me: the characters are as they should be, and some of the thumbnails and sketches are pointing in the right direction in regard to the scenes, but it all has to be in black and white. Just black and white! It was pointless to try to resist. This was what the book wanted to be. I had to get right down to work, practicing and improving my grayscale drawing skills, no matter how hard it would be or how long it would take.
Along the way I tried various approaches and many different materials. The more time I dedicated to honing my skill set, the deeper I fell in love with this new monochromatic world I was getting to know. And I’m still exploring its trails.
In the course of this journey I’ve discovered the work of brilliant artists, such as Saul Steinberg (I highly recommend the book Illuminations by Joel Smith, Yale University Press, and if you happen to be in the vicinity of Cincinnati, Ohio, it’s worth paying a visit to the Cincinnati Art Museum to see their mural by Steinberg, one of their many treasures), Osamu Tezuka, who is often referred to as “the godfather of manga” (oh, he was and so much more!), whose “Buddha” series is epic, in my opinion, and, last but certainly not least, the extraordinary Tove Jansson and her Moomins, among other creations. Any set of lines placed by this brilliant lady is worth pausing to pay attention to, as humble and simple as they may seem at first glance. The same goes for her stories. There are other exceptional artists, many others, and always much more to learn.
It might sound a bit funny, but although I’ve completed quite a few pieces in black and white, to this day I haven’t yet gotten around to illustrating the children’s book that sent me in this direction to begin with. The text is ready and has been edited, and is patiently waiting for me to come back and finish working on the book. When the time is right, I will.
Meanwhile, I’m concentrating on other projects, very much enjoying discovering in greater depth the strange wonderland of black and white and the endless possibilities that are revealed to me as I work or when I study the works of others. As Dominic Rouse put it so beautifully: ”Color is everything. Black and white is more.”
Thank you for reading this. I hope we all get to experience a journey of color, going in whatever direction it leads, and never letting fear stop us from taking an unfamiliar creative path. Sometimes, if we’re lucky, the right path becomes as clear to us as black and white.
You are all welcome to visit MA.KE by Maya Keshet website at: https://www.mayakeshet.com
