How to Draw an Apple

13 àwọn ìtàn ~12 àwọn àkóónú Àwọn ìṣàmúlò-ètò 2/5 Free, kò sí ìṣàmúlò-ètò

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Dẹ̀ àwọn ìṣàmúlò-ètò àti àwọn ààyè-ètò ààyè-ètò.

Slightly wider than tall, and no dent yet.

Ṣẹ̀dà nínú àwọn àyọkà àwọn ìṣàmúlò-ètò

Fi àwòrán àwọn àwòrán àwọn àyọkà rẹ pamọ́

A tí fi àwòrán pamọ́ fún ọ. Àwọn àkọlé àwòrán ní pàtó àwọn àwòrán.

Àkóónú àwòrán yìí

An apple is the classic first drawing for a reason, and it is not that it is easy. It is that an apple is the shortest possible route to understanding light, because it is round, it is a single colour, and it is sitting in your kitchen right now.

The drawing takes two minutes. The shading is the lesson.

Àwọn ìṣàmúlò-ètò

Àwọn ìtàn 1

Dẹ̀ àwọn ìṣàmúlò-ètò àti àwọn ààyè-ètò ààyè-ètò.

Start round and correct it later. An apple is not a perfect sphere but it is much closer to one than beginners draw it - most people go straight for the dented top and end up with a shape that reads as a pepper.

Wòyé Drawing the classic 'apple silhouette' from memory instead of the round mass that is actually there.

_Ṣẹ̀dà Slightly wider than tall, and no dent yet.
Àwọn ìtàn 2

Tí a bá tẹ̀ àwọn ààyè ààyè nínú àwọn ààyè ààyè, láti inú ààyè kan.

The dip where the stem sits is rarely centred, and putting it slightly to one side immediately makes the apple look like a real one rather than a logo. Keep the dent shallow.

Wòyé Cutting a deep V into the top. Real apples dimple, they do not fold.

_Ṣẹ̀dà The dent should be off-centre and gentle enough to still read as a circle.
Àwọn ìtàn 3

Fi àwọn ààyè

Almost nothing in nature is symmetrical, and an apple leans. Nudging the base a little away from the dent gives the fruit a direction, which reads as weight.

Wòyé Making the outline perfectly symmetrical, which looks designed rather than observed.

_Ṣẹ̀dà Draw a vertical line through the dent - the two halves should NOT match exactly.
Àwọn ìtàn 4

Add the stem, leaning out of the dent.

A stem is a short thick tube, not a hair. Give it some width and let it lean - a vertical stem in the middle is the fastest way to make an apple look like a cartoon.

Wòyé Drawing it as a single thin line straight up.

_Ṣẹ̀dà It should be thick enough to have two sides.
Àwọn ìtàn 5

Fi àwọn ààyè ààyè kan sínú àwọn ààyè ààyè

One curve is the top edge, the other the bottom, and they meet at a tip. Attach it to the stem rather than floating it nearby - the join is what stops it looking pasted on.

Wòyé Drawing the leaf as an oval, which reads as a balloon.

_Ṣẹ̀dà Both curves should meet at both ends: base and tip.
Àwọn ìtàn 6

Yan ibi tí a óò fi àwọ̀ pamọ́ sínú àti àkànṣe rẹ̀.

Everything from here depends on this one decision, so make it consciously rather than letting it drift. Pick a direction - upper left is easiest - and commit. If you have a real apple, put a lamp on one side of it and look.

Wòyé Not deciding, then shading a bit everywhere. That is the single reason most beginner drawings look flat.

_Ṣẹ̀dà You should be able to say out loud where the light is.
Àwọn ìtàn 7

Outline the highlight where the light hits most directly.

The brightest spot is not on the edge - it is on the part of the surface facing the light most squarely, which on a sphere is inside the form, slightly up and toward the light. Outline it now so you remember not to shade it.

Wòyé Putting the highlight on the outline instead of inside the shape.

_Ṣẹ̀dà The highlight should be surrounded by apple on all sides.
Àwọn ìtàn 8

Shade the side away from the light, darkest at the edge.

Work in one direction rather than scrubbing back and forth. Scrubbing produces an even grey, which is exactly the thing that makes a drawing look flat, so lay your strokes the same way and build the darkness up in passes.

Wòyé Being too timid. Beginners routinely stop two or three steps short of dark enough.

_Ṣẹ̀dà The darkest area should be clearly darker than the mid tone, not slightly.
Àwọn ìtàn 9

Fi àwọn ìwọ̀n pamọ́ sínú ìwọ̀n láti jẹ́ pé kò ní àká-ìṣàmúlò-ètò kan.

On a round object the transition from light to dark is gradual - a hard edge would mean a sharp corner. This soft band is called the core shadow and getting it to fade is most of what makes a sphere read as a sphere.

Wòyé Leaving a visible seam where the shading starts.

_Ṣẹ̀dà Run a finger along the transition. You should not be able to point at where it begins.
Àwọn ìtàn 10

Fi àwọn ààyè àìdájú ààyè àìdájú pàtó nínú ààyè ìsàlẹ̀-ilà.

Light bounces up off the table and catches the underside. That thin lighter strip is called reflected light, and it is what stops the apple looking glued to the background. It is subtle - lighter than the core shadow, still darker than the lit side.

Wòyé Making it as bright as the highlight, which flattens the bottom of the apple out again.

_Ṣẹ̀dà Three values along the bottom: dark, then slightly lighter, then the shadow on the table.
Àwọn ìtàn 11

Add the cast shadow on the table, away from the light.

The cast shadow is darkest where it meets the apple and softens as it moves away. It also anchors the fruit to a surface - without it the apple floats, however well you have shaded it.

Wòyé Drawing it as an even grey oval detached from the apple.

_Ṣẹ̀dà It should touch the apple and be darkest right at that contact point.
Àwọn ìtàn 12

Fi àwọn àwọn àwọ̀ àwọ̀ tí o pọ̀ jù pamọ́ sínú àwọn ààyè-iṣẹ́ rẹ.

Hold your drawing at arm's length and squint. You should see a clear lightest area, a clear darkest area, and a smooth ramp between. If everything sits in a narrow band of grey, push the darks - almost nobody pushes them far enough on a first attempt.

Wòyé Lightening the highlight instead of darkening the shadow. Contrast comes from the dark end.

_Ṣẹ̀dà Squint at it. Can you still see three distinct values?
Àwọn ìtàn 13

Lọ sí ààyè-iṣẹ́, láti dájú bí o tí fẹ́.

A real edge is not one uniform line. Where the form turns away from you into shadow it is darker and firmer; where the light hits it the edge almost disappears. Varying it is the last thing that separates a drawing from a colouring page.

Wòyé Tracing the whole outline at one weight, which undoes the roundness you just shaded in.

_Ṣẹ̀dà The outline on the shadow side should be visibly darker than on the lit side.

Wó ò kùnà, àwọn ìtàn nínú àwọn ìtàn

Àwọn ìtàn àwọn ìtàn tí a tì ṣẹ̀dà ní pàtó, tí a ṣẹ̀dà ní àtòjọ-ẹ̀yàn láti ojú-ìwé àwọ́fẹ́ sí àwọn àwọn ìṣàmúlò-ètò tí a tí ìparí.

Tí a ṣè láti inú àwọn ìsẹ̀dá tí a tì kọ̀ ní àwọn ààyè-iṣẹ́ - kò si ohunkohun tí a fi fọ́nrásì, kò si ohunkohun tí a fi ọwọ́ kọ́.

Àwọn ìṣàmúlò-ètò tí a ti ṣẹ́

Àwọn àwòrán tí a ti pà àwọn ìṣàmúlò-ètò gbogbò nínú àti àwọn àkóónú tí o fẹ́ láti tọjú nínú ìrọ́wọ́lọ́wọ́ tí o fẹ́. Tó bá jẹ́ pé òǹlò rẹ̀ kò ní àwọn àkóónú ààyè-iṣẹ́ àti àwọn ìṣàmúlò-ètò ìpàdá nínú òǹlò rẹ̀, yìí ní àkóónú tí o kò tí - a tí n gba àwọn sékètà mẹ́rin-láàrin-láàrin.

The finished drawing of an apple with the construction lines erased

Ó kò lè wò nípa yìí, àti pé kò yẹ̀ ki o. Ó jẹ́ ìṣàfarawégbèsì àti àwọn ààyè àwọn ààyè tí a tí wọ́n lọ́wọ́lọ́wọ́, kò jẹ́ àwòrán tí ẹnikẹ́ni tí a tí ṣè láti jẹ́ àìbálẹ̀ - àwọn àwọn ààyè nípa yìí nípa fi fihan ọ̀rọ̀ àwọn à

Ohun ti ọkan yio kọ ọ

This is the value lesson. Value - how light or dark a mark is - is what makes a drawing look three-dimensional, and it is the thing beginners skip because outlines feel like the real drawing.

The specific skill is the four-band ladder: highlight, mid tone, core shadow, reflected light. Once you can see those four bands on an apple you will see them on faces, cars and clouds.

Àwọn ìṣàmúlò-ètò: Line confidence Proportion Corners and joins

Ohun tí o fẹ́

Ó dara ju àwọn

Tí o bá jẹ́ àìdájú

you have a flat apple, you have shaded it evenly. If you have a flat apple, you have shaded it evenly: there is a bright spot, a mid tone, a dark band, and then a slightly lighter edge where light bounces back up from the table. If you have a flat apple, you have shaded it evenly: there is a bright spot, a mid tone, a dark band, and then a slightly lighter edge where light bounces back up from the table. If you have a flat apple, you have shaded it evenly: useShaDo notShade it and then shade it and then shade it.Shade in one direction instead of shading back and forth. If you have a flat apple, you haveShaShaDo notShade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade in one direction instead of shading back and forth.Shade

Píríǹtì àwọn ìtàtì

Fi o kù nínú ojú-ìwé. Àwọn àtòjọ-ẹ̀yàn ìtàn tí a píríǹtì lórí ojú-ìwé kan.

Àkọ́lé (US) A4paper size

Àwọn Àtòjọ-ẹ̀yàn

Kini idi tí àwọn: O tí fi àwọ̀ pamọ́ sípapọ̀. Àwọn àwọn à
Ààyè nípa tí àwọn ìṣàfihàn láti lọ?: Nínú ààyè tí o bá wòjú àwọn ìṣàmúlò-ètò ìwọ̀n rẹ̀, tí o bá jẹ́ àwọn ìsàlẹ̀-ètò tí o wa ní àwọn ààyè tí o tì wa ní àwọn ààyè àwọn ìṣàmúlò-ètò. Fi àwọn àwọn ìṣàmúlò-ètò àti àwọn à
Kini àwọn ààyè-iṣẹ́ àwọn ààyè-iṣẹ́ nínú ààyè-iṣẹ́ ààyè-iṣẹ́?: Àwọn ìṣàfarawé àwọ̀ tí a fi pamọ́ sí ààyè-iṣẹ́. Ó jẹ́ ohun tí n pàtó àwọn
Ǹjé mìíràn àwọn à: Ó ń bá ọ̀kan nínú. Àwọn àwọn
Àwọn àwọn àgbègbè àwọn àwọn àgbègbè: Kò. Àwọn àwọn à
Ìgbà wò nínú ìwọ̀n àwọn ìṣàmúlò-ètò náà yẹ̀?: Tí o bá jẹ́ ìwọ̀n jú tí o bá fẹ́. Àwọn ìṣàmúlò-ètò àìdájú nípa àwọn
Ń lè ṣé yìí nínú ìṣàmúlò-ètò?: Yes, using hatching instead of smooth shading - more lines close together for the dark areas.
Ohun ti mo yẹ ki o kọ̀ nínú àwọn àwọn àmì-ìwé yìí?: Àwọn àwọn