How to Draw a Tomato
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Begin with the big shape.
It should fill most of the page with a margin all round.
Вместо этого рисовать на бумаге?
Мы выпрямили и убрали для вас фото.
О рисунке
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.
Шаг за шагом
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Шаг 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.
Осторожно. Building the mass from many small safe strokes.
Проверить It should fill most of the page with a margin all round.
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Шаг 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.
Осторожно. Leaving the construction oval as the finished outline.
Проверить The outline should differ visibly from the oval underneath.
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Шаг 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.
Осторожно. Skipping the axes because the shape looks simple.
Проверить The two lines should cross near the middle of the mass.
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Шаг 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.
Осторожно. Balancing the stalk on the outline like a hat.
Проверить The top feature should overlap the mass's outline.
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Шаг 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.
Осторожно. Omitting the dip so the top sits on a flat line.
Проверить The dip should curve, not sit flat.
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Шаг 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.
Осторожно. Deferring the decision and shading by instinct.
Проверить You should be able to point at the light source.
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Шаг 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.
Осторожно. Scrubbing, and stopping two steps short of dark enough.
Проверить The dark side should be clearly darker than the mid tone.
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Шаг 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.
Осторожно. Running the shading tight to the outline.
Проверить A lighter line should separate shading from edge.
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Шаг 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.
Осторожно. A large or doubled highlight.
Проверить The highlight should be smaller than your thumbnail.
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Шаг 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.
Осторожно. Marks drawn flat across the curved surface.
Проверить Marks should bend with the surface.
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Шаг 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.
Осторожно. An even grey puddle not touching the object.
Проверить The shadow should touch the object's base.
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Шаг 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.
Осторожно. Equal weight everywhere.
Проверить Outline darkest, marks lightest, guides gone.
Как выглядит, что все закончено
Тот же рисунок стертыми гидом и только те линии, которые вы собирались сохранить, при весе, которым вы хотели их быть. Если у вас все еще есть центральные линии и блокирующие формы, то это шаг, который вы еще не сделали - и он занимает около 30 секунд.
Твоя не будет выглядеть так, и это не должно выглядеть. Это строительство с убранными строительные работы, а не рисунок, которым кто-то восхищается, и суть в том, чтобы показать тебе, какая из твоих строк была путеводителями.
Чему этот на самом деле учит тебя
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.
Применить следующие меры: Line confidence Proportion Value range
Что тебе нужно
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.
Если все пойдет не так
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.
Печать шагов
Уберите это от экрана.
Вопросы, которые люди задают
- 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.