How to Draw a Tomato
1 / 12
Begin with the big shape.
It should fill most of the page with a margin all round.
الرسم على الورق بدلاً من ذلك؟
نحن نقوم بتصحيح وتطهير الصورة من أجلك الورق يحسب بنفس الطريقة تماماً
حول هذا الرسم
A tomato is a squashed sphere with shoulders: wider than tall, gently lobed around the top, wearing a green star-shaped calyx whose points curl UP off the surface. The lobes are stated by the outline's shallow bumps and by nothing else - shading them individually is how tomatoes turn into pumpkins.
Like every simple form on this site, it is one mass plus value: block it in, break the outline where the real thing does, then let light do the rest.
خطوة خطوة
-
الدرجة 1
Begin with the big shape.
One shape, one motion. A slightly lopsided mass drawn confidently beats a perfect one assembled from nervous strokes, because you can correct a shape and you cannot un-see hesitation.
إنتبه Building the mass from many small safe strokes.
.. تحقق It should fill most of the page with a margin all round.
-
الدرجة 2
Make the silhouette uneven.
Nothing organic is a perfect oval. Push the outline in and out where the subject actually does - the asymmetry IS the likeness.
إنتبه Leaving the construction oval as the finished outline.
.. تحقق The outline should differ visibly from the oval underneath.
-
الدرجة 3
Draw a cross through the middle.
Two light lines through the middle are the rulers for everything that follows. Without them the features drift off-centre a few millimetres at a time.
إنتبه Skipping the axes because the shape looks simple.
.. تحقق The two lines should cross near the middle of the mass.
-
الدرجة 4
Draw the top feature.
Whatever sits on top attaches INTO the form, not onto its outline - it comes out of a dip or a mound, and drawing that junction is what attaches it.
إنتبه Balancing the stalk on the outline like a hat.
.. تحقق The top feature should overlap the mass's outline.
-
الدرجة 5
Draw the top hollow.
The hollow around the top is what makes the form read as having a top rather than an edge. One curve, and note which way it bows - it tells the viewer where their eye is.
إنتبه Omitting the dip so the top sits on a flat line.
.. تحقق The dip should curve, not sit flat.
-
الدرجة 6
Decide the light source now.
Pick a direction and commit. Every decision from here - shading, highlight, cast shadow - follows from this one, and changing your mind halfway is the classic way a drawing ends up lit from two directions.
إنتبه Deferring the decision and shading by instinct.
.. تحقق You should be able to point at the light source.
-
الدرجة 7
Add tone on the shadow side.
Work in one direction and build darkness in passes. Scrubbing back and forth gives an even grey - precisely the thing that makes a drawing look flat.
إنتبه Scrubbing, and stopping two steps short of dark enough.
.. تحقق The dark side should be clearly darker than the mid tone.
-
الدرجة 8
Add the bounced light.
Leave a thin lighter strip right at the shadow-side edge - bounced light from the surface below. It is the single cheapest thing that makes a form read as round.
إنتبه Running the shading tight to the outline.
.. تحقق A lighter line should separate shading from edge.
-
الدرجة 9
Draw the highlight where the light hits.
One highlight, small, off-centre on the lit side. Two symmetrical highlights read as plastic; a big one reads as wet.
إنتبه A large or doubled highlight.
.. تحقق The highlight should be smaller than your thumbnail.
-
الدرجة 10
Add the surface marks that say tomato.
Surface marks follow the form - they curve over the mass and fade near the highlight. Flat marks cancel the volume you just shaded into it.
إنتبه Marks drawn flat across the curved surface.
.. تحقق Marks should bend with the surface.
-
الدرجة 11
Draw the shadow underneath.
Darkest at the contact point, softer as it stretches away from the light. It anchors the object; without it everything you shaded still floats.
إنتبه An even grey puddle not touching the object.
.. تحقق The shadow should touch the object's base.
-
الدرجة 12
Go over the keepers and erase the guides.
Weight the silhouette, erase the axes and the oval, and leave the interior marks light. The weight difference is what makes it look deliberate.
إنتبه Equal weight everywhere.
.. تحقق Outline darkest, marks lightest, guides gone.
ما يبدو أنه انتهى
نفس الرسم مع محو كل دليل والخطوط فقط التي كنت تقصد الاحتفاظ بها، في الوزن الذي كنت تقصد أن تكون عليه. إذا كان الرسم الخاص بك لا يزال يحتوي على خطوط مركزية وأشكال مغلقة في ذلك، فهذه هي الخطوة التي لم تفعلها بعد - وتستغرق حوالي ثلاثين ثانية.
إن رسمك لن يبدو كهذا، وليس من المفترض أن يبدو كذلك. هذا هو البناء بعد إزالة السقالات، وليس رسماً رسمه شخص ما ليُعجب به ـ الهدف من هذا الرسم هو أن يبين لك أي من خطوطك كانت دليلاً.
ماذا تعلمك هذه في الواقع
What transfers is the standard light kit - core shadow inside the edge, bounced light at it, one small highlight, a cast shadow that anchors. Every shaded form you ever draw uses all four.
The tomato draws the line between silhouette information and surface information: its lobes live entirely in the outline while the shading stays spherical. Knowing which channel a fact belongs in is the drawing decision this fruit exists to teach.
ممارسة هذه: Line confidence Proportion Value range
ماذا تحتاجين
Anything that makes a mark. On paper, press lightly for the first few steps - most of what you draw early is scaffolding you will erase.
إذا كان يسير على نحو خاطئ
If it reads as an apple, it is too tall: a tomato is clearly wider than high, with its weight sitting low.
If it reads as a pumpkin, you shaded the lobes: state them only as shallow bumps in the top outline and shade the fruit as ONE sphere.
If the calyx lies flat, curl it: the green points lift off the fruit's surface, each casting a sliver of shadow beneath itself.
طباعة الخطوات
أبعدها عن الشاشة، ورقة الخطوات تطبع على صفحة واحدة
أسئلة يطرحها الناس
- How do I draw the top of a tomato?
- Shallow lobed bumps in the outline, a green star-shaped calyx with points curling up off the surface, and a short thick stem. The lobes live in the outline only - shade the fruit as one sphere.
- Why does my tomato look like a pumpkin?
- You shaded the lobes as segments. A tomato's lobes are outline information; its surface shades as a single smooth sphere.
- What proportions does a tomato have?
- Wider than tall - roughly five wide to four high - with the weight sitting low. A tall tomato reads as an apple wearing the wrong hat.
- Can I draw a tomato on paper instead of the canvas?
- Yes, and for a shading lesson paper is arguably better - a soft pencil gives you more range than a finger on glass. The printable sheet has every step, and a photographed result is measured the same way.
- How do I start drawing a tomato?
- One oval, drawn in a single motion, then correct the silhouette where the real thing differs. The oval is scaffolding, not the outline.
- How do I shade a tomato?
- Pick a light direction and commit, shade in one direction in passes, keep the darkest band just inside the edge, and leave one small off-centre highlight.
- Why does my tomato look flat?
- Almost certainly range - no true dark anywhere and no untouched light left on the page. Go two steps darker than feels safe and leave the highlight alone.
- Can a beginner draw a tomato?
- Yes - it is deliberately one of the simpler forms here, chosen so the shading can be the whole lesson.
- Does a tomato need a cast shadow?
- Yes, always. Without one the form floats on the page however carefully you shaded it. Darkest at the contact point, softer as it stretches away.