{"id":907969,"date":"2026-11-06T13:12:24","date_gmt":"2026-11-06T13:12:24","guid":{"rendered":"https:\/\/www.newsbeep.com\/us\/907969\/"},"modified":"2026-11-06T13:12:24","modified_gmt":"2026-11-06T13:12:24","slug":"4-artists-reveal-how-to-make-black-and-white-art-work","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us\/907969\/","title":{"rendered":"4 artists reveal how to make black and white art work"},"content":{"rendered":"

best drawing tablets<\/a> and the best pens for artists<\/a>).<\/p>\n

Foregoing colour can be an intentional creative choice rather than the result of a limitation, but for illustrator Sarah Koudelka-Mason it was born out of convenience. \u201cAfter trying out all sorts of tools, I found pencils to be the simplest, least fussy medium,\u201d she says. \u201cAll you need is a pencil and paper, which you can bring anywhere. Perhaps because pencils were also my first and most consistent tool in my art journey, I feel the most comfortable with them.\u201d<\/p>\n

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In Sarah\u2019s opinion, working in black and white is easier than creating in colour (Image credit: Isabella Mazzanti)<\/p>\n

For character artist and illustrator Joe Vriens, a black and white approach was the result of a fear of colour theory mixed with a dash of impatience.<\/p>\n

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\u201cI\u2019d always get excited to see the bare line work of a comic, too; it seemed much more achievable,\u201d he reveals. \u201cI could grab a pen and paper and make a comic without expensive markers, paints or digital tools.<\/p>\n

You may like<\/p>\n

\u201cI\u2019m also old enough to remember King Kong in black and white. I made my parents rent that thing probably once a month. In retrospect, maybe King Kong informed my approach all along?\u201d<\/p>\n

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Black and white photography inspired Joe to start working monochromatically (Image credit: Joe Vriens)<\/p>\n

Illustrator Isabella Mazzanti points out that working in black and white plays into a long tradition of art styles, including her own influences which range from Gustave Dor\u00e9\u2019s engravings to contemporary manga.<\/p>\n

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\u201cThey seemed accessible and reproducible to me,\u201d she says. \u201cThese early experiences were fundamental, because they shaped my aesthetic sensibility and my approach to drawing.\u201d<\/p>\n

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Working in black and white shaped my aesthetic sensibility and my approach to drawing,\u201d says Isabella Mazzanti (Image credit: Isabella Mazzanti)<\/p>\n

Seeing as working in black in white is a deliberate approach, it also depends on specific considerations.<\/p>\n

\u201cYou have to make sure the shading values are balanced well,\u201d Sarah advises. \u201cIt\u2019s easy for your shading to look flat or \u2019muddy\u2019 if your tones are too similar, so you really have to figure out your darks, mediums and lights, and then tie them together with the between shading. I personally like to work lighter and work my way to the crisp dark lines at the end. So satisfying.\u201d<\/p>\n

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\u201cLine weight and shape design are also key,\u201d says concept artist Alexander Joseba, who has worked for Epic Games, HBO, Ubisoft and more. \u201cA strong silhouette can communicate a character or object very quickly, and different line weights can help separate forms and create depth. Since you cannot use colour to separate materials or planes, you need to do it through values, textures, edges and rhythm.\u201d<\/p>\n

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Working in black and white requires a more direct and precise way of thinking, says Alexander (Image credit: Alexander Joseba)<\/p>\n

\u201cFor me, black and white forces you to be more disciplined, although I also like to play with a more wild and instinctive approach. If the image works in black and white, it usually means that the composition, lighting and structure are solid.\u201d<\/p>\n

Alexander grew up looking at the work of great artists such as John Buscema, Mike Mignola, Alberto Breccia and many others.<\/p>\n

\u201cI was fascinated by the way they were able to communicate so much with ink: how they separated planes, created depth, controlled light and shadow, and made the whole image work so clearly, each one with their own very distinct style,\u201d he explains<\/p>\n

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Alexander Joseba has always been fascinated by black and white. \u201cI love the feeling of traditional ink and getting my hands dirty\u201d (Image credit: Alexander Joseba)<\/p>\n

Some extra considerations are required when working in black and white, however. Alexander believes the most important consideration is readability.<\/p>\n

\u201cWithout colour, you have to rely much more on values, contrast, shapes, silhouettes and composition to guide the viewer\u2019s eye. Everything needs to be clear from the beginning: what the focal point is, what belongs to the foreground, middle ground and background, and where the main light is coming from.<\/p>\n

\u201cWorking in black and white forces you to focus on the foundation of the image. You need to solve composition, lighting, values, silhouette, volume and overall readability properly. I think any artist who works well in black and white will also improve their colour work, because they understand values, light and structure better. Colour does not replace that foundation; it complements it.\u201d<\/p>\n

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Isabella argues that black and white art creates more room for the viewer\u2019s personal interpretation (Image credit: Isabella Mazzanti)<\/p>\n

Isabella also warns against assuming that working in black and white is a simpler approach.<\/p>\n

\u201cA solid grasp of the visual language is essential in order to use it effectively,\u201d she argues. \u201cBlack and white is not simply the absence of colour; when working with chiaroscuro, one chooses to tell a story based on duality, contrast and the exaggeration of ambiguity. I believe it is vitally important for an artist to understand this element, which has the power to intensify the viewer\u2019s emotional engagement.\u201d<\/p>\n

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Working in black and white has sharpened Sarah\u2019s skills as an animator and character designer (Image credit: Sarah Koudelka-Mason)<\/p>\n

When it comes to making black and white art work professionally, Isabella stresses that economic forces may be influencing publishers just as much as aesthetic considerations. \u201cIt lends images a classic, refined and timeless quality,\u201d she says.<\/p>\n

\u201cEven when telling a certain type of story \u2013 for example, Gothic literature \u2013 black and white seems to be the most natural choice. It can be a risky choice, because one is foregoing the emotional appeal of colour, but when used in the right way and in the right context, it\u2019s a winning decision.\u201d<\/p>\n

Image 1 of 2<\/p>\n

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For Sarah, working in colour can get messy because you have to factor in added values<\/p>\n

(Image credit: Sarah Koudelka-Mason)<\/p>\n

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Whilst she also enjoys working in colour, Sarah is happiest when putting pencil to paper<\/p>\n

(Image credit: Sarah Koudelka-Mason)<\/p>\n

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Sarah claims that black and white art is underrated, and that it\u2019s not the usual approach commissioners are looking for. \u201cBut at the same time, if there are clients specifically looking for works of that nature and you\u2019ve established yourself in that niche, you will find them. This applies to any unique niche of art, and I personally enjoy the challenge of going against the grain!\u201d<\/p>\n

For Alexander, black and white artwork is useful for both commercial production pipelines and for final illustration styles. \u201cIt depends on the project: sometimes it is a practical development tool, and sometimes it becomes the final artistic language,\u201d he says.<\/p>\n

Image 1 of 2<\/p>\n

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Without colour, Alexander advises using values, textures and edges to define form<\/p>\n

(Image credit: Alexander Joseba)<\/p>\n

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\u201cBlack and white forces you to simplify, make stronger decisions, build an image from its foundation,\u201d says Alexander<\/p>\n

(Image credit: Alexander Joseba)<\/p>\n

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Even if artists don\u2019t gear their black and white artwork towards clients, focusing on it can still improve their overall craft. \u201cBalancing tones in a final image is super-important, so if you can master greys then moving on to colour will feel easier,\u201d says Joe.<\/p>\n

\u201cYou can guide the viewer\u2019s eye with tones alone, so it can help your compositions greatly. Focusing on greys or even black and white can take a lot of the pressure off as well, which allows you to really dig into lighting and form.\u201d<\/p>\n

Image 1 of 3<\/p>\n

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Joe likes to use a couple of grey Copic markers when sketching out his poses<\/p>\n

(Image credit: Joe Vriens)<\/p>\n

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\u201cCopic markers hit the page dark and dry much lighter, so it\u2019s really handy for testing the waters,\u201d he says<\/p>\n

(Image credit: Joe Vriens)<\/p>\n

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Comics and concept art are two of the areas where black and white work are in demand, says Joe<\/p>\n

(Image credit: Joe Vriens)<\/p>\n

Meanwhile Sarah is a firm believer that practising black and white art is one of the best ways to strengthen your understanding of the fundamentals.<\/p>\n

\u201cWithout the distraction or support of vibrant colours, you are encouraged to look at your work in a simpler and more intentional way,\u201d she says. \u201cYou start to see shape language, values, lighting, contrast, composition and depth a lot clearer.<\/p>\n

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For Isabella, black and white art lends itself to the realms of dreams and imagination (Image credit: Isabella Mazzanti)<\/p>\n

Isabella agrees: \u201cThe absence of colour changes the way an image is perceived,\u201d she says. \u201cRather than depriving the image of something, a black and white approach reveals its essential and most intimate nature; it speaks to the viewer in a more universal, almost archetypal language.\u201d<\/p>\n

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By its very nature, Isabella claims that black and white art is a reflection of the past (Image credit: Isabella Mazzanti)<\/p>\n

This article originally appeared in ImagineFX. Subscribe to ImagineFX<\/a> to never miss an issue. Print and digital subscriptions are available.<\/p>\n

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