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MORE DRAWING TUTORIALS: How to draw a roseHow to draw a dragon How to draw a horse NEW: How to draw a wolf NEW: How to draw a betta fish How to draw animals from pears How to draw an owl How to draw a cat How to draw animals from alphabets How to draw a frog How to draw a parrot How to draw a bird How to draw a butterfly How to draw a sheep How to draw a pig How to draw a swan How to draw a penguin How to draw a peacock How to draw a lion How to draw a rabbit How to draw a cow How to draw a dachshund How to draw a seahorse How to draw a tiger How to draw a kitten How to draw a monkey How to draw a unicorn How to draw a phoenix How to draw a deer How to draw a squirrel How to draw a crocodile How to draw a dinosaur How to draw a whale How to draw a duck How to draw a giraffe How to draw a snail How to draw a koala How to draw an angelfish How to draw an elephant How to draw a griffin How to draw a walrus How to draw a cocker spaniel How to draw a poodle How to draw a donkey How to draw a chicken How to draw a rooster How to draw a porcupine How to draw a kangaroo How to draw a bear How to draw a mouse How to draw an octopus How to draw a turkey How to draw a goat How to draw a camel How to draw a hippo How to draw a possum How to draw a rhino How to draw a centaur Did you choose "Other"? I'd love to know what your other is. Email me to let me know. 
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Learn to Draw > Colored paper A drawing loses its freshness if it is fixed each time after work on it in order to avoid smudging. A drawing should never be fixed until it is finished. Eraser and bread crumb should be left well alone, particularly when using chalks. With charcoal some final erasing and touching up can be done. Because it is so soft, charcoal has a very loose contact with the paper anyway, and it produces rather imprecise lines, which match the uncertain traces of the eraser. A line and wash drawing on white paper is built up in the same way as a watercolor: working from light to dark. Starting with the wash and flnishing with the accent strokes is more in keeping with an impressionistic vision. If the constructive approach is preferred, the reverse order is appropriate. It is possible, of course, to do both simultaneously, just as both modes of vision can be used together. Black or white chalk drawing on colored paper is comparable to opaque color or oil painting. The artist works from the background color into the darks and puts in the lights at the end. This way of drawing is best done with lines alone; washing or stumping does not give good results. White strokes are best done with white pastel, not white pencil, which is too transparent on most papers. The greatest precision is obtained with a flne brush line of opaque white.  We have already shown why readymade, bright colored paper is unsuitable for any drawing other than an explanatory sketch or a poster. It has more important artistic arguments against it, for the exact tone of color used is exceedingly important to the whole effect. Color laid on by hand can produce an exact tone and besides has an attractive surface quality. The background color has to combine well with the material used for the drawing, either by affinity or contrast. Some "black" inks have a brown tinge when diluted, others are colder, bluish or violet. It is rare to find a black that dilutes to a neutral gray, and when it does it is affected by the color of the paper and gives all kinds of nuances from the effects of color relationship. Even when undiluted, pure black inks do the same. This must be kept in mind to avoid unexpected results. The Chinese, who are the greatest authorities on ink, used its hidden color qualities deliberately. More will be said on color relationships in the section on Color. Without a close study, it is impossible to control effects with colored paper. Despite the numerous varieties of colored paper produced since their manufacture began, the best artists have always tinted their papers themselves, aiming at an optical, colored gray by the exploitation of color relationships. Durer laid a mat green over red ochre to make a sensitive brown or greenish gray. Sometimes he made a tone verging on violet and blue grays. But gray was always aimed at, not strong colors which are too noticeable, distracting from the drawing and the theme. Those who incline too much to strong colors should remember this. Tinting of paper is best done with transparent watercolor. Opaque colors, besides looking dead, often make the ink stroke run because of their opacity, although they are tolerable for pencil or chalk. Even then the "heightening," as white shading for high lights is called, is unattractive on them. It is thus advisable to keep to a thin glaze of watercolor; the whiteness of the paper behind it imparts a brilliance even to dark tints. Corrections cannot be made on ink drawings on colored paper without spoiling the tint. Opaque white, too, cannot  be corrected or washed off without smudging the ground. If pencil is used, then only opaque white can be used for heightening because white chalk does not combine satisfactorily except with black chalk or charcoal.
A drawing heightened with white pencil or opaque white cannot, thus, be attempted without some experience and competence. There is an easier technique on colored or gray tinted paper. It is, in the author's opinion, much safer, as it rests on uniformity of material. An eraser is all that is necessary; the rubbed out ground gives the high lights, as follows: The light paper is colored all over with ground chalk, but not fixed. The drawing is then done in black or red chalk as required, as though onto white paper. A soft, pointed eraser is then used to take out all the high lights from the ground. It is possible then, if necessary, to deepen the darks with the chalk, or put in more detail. Next: Reverse techniques |
 If you're worried about not having enough artistic "talent", try some free cartooning lessons. You'll be drawing and laughing in no time flat.  Free printable coloring pages for kids.  50 tricks and that anyone can do. Puzzles and brain-teasers, too. |
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