Genau erklärt –
so zeichnest Du eine Orange –
Tutorial zum Thema Textur zeichnen
Sure you know how an Orange looks like.
But is this knowledge enough for drawing it?
Feature:
Fundamentals
Duration:
15 minutes
Materials:
any
Difficulty:
easy
What's this about?
What makes an Orange look like an Orange? Let's have a close look!
By: Rainer Schmitten
Sure you know how an Orange looks like. You also know what an Orange tastes like.
But what if you try to describe this particular taste with words?!
It needs a lot of practice to find a more specific description than "kinda sweet and sour" or a simple "yummy".
It's the same with the picture of an Orange in our imagination: if you want to draw it, it's probably not specific enough. You need a model to draw from.
This is the crucial point when drawing objects from imagination: we think we know how something looks like, but for drawing it this knowledge isn't accurate enough.
In diesem Tutorial zum Thema Textur zeichnen we look closer:
- What exactly is visible?
- What exactly needs to be drawn to make the Orange look like an Orange?
Contents
Hey ho, let's go!
The numbes indicated in the list send you directly to the respective sections of the tutorial.
Step by step
The object and it's surrounding
How may we distinguish the object from the surrounding?
First of all: by the sihouette, which is the outline of the object, the contour or its outer shape.
It forms a visible border between the orange and its surrounding.
In the case of our orange here, the outline is almost circular.
The surrounding in our example is a flat (plane), chequered surface.
This surface seems somehow "spatial", there is "back" and "front".
That's because the picture shows a perspective view. You can tell by the lines that run closer together towards the back.
Remark
What perspective is, what it does, and how to draw it is a huge topic that shall not be covered here. If it interests you, write a comment below this post. If a lot of readers are interested, I'll do a separate tutorial on it.
What else is different?
We do have the colour of the orange, which os orange, of course. It may as well be blue or red or purple, it doesn't really matter. But let's make it orange for simplicity's sake.
So now we have an orange circle. That doesn't look quite like an orange yet, right?
Somehow the globular look is missing.
How can we make this orange look 'like real'? What can make this globular, spherical effect we want to achieve?
Finding
Color and shape alone are not enough to describe an object clearly and unmistakably!
The shape and the form
How does the flat shape become a spatial form?
Let's have a look at the section inside of the contour: here we see that the surface of the orange does not have the same brightness everywhere.
On one side the colour is brighter and on the other side it is darker.
I bet you already know, what is the cause for this: it is the light.
From the shadow …
The light comes from a certain direction and 'falls' on the orange.
The orange keeps the light from illuminating the immediate surrounding, therefore a shadow falls on the surface where the orange is located.
Remark
By the way: it is the shadow which connects the object with its surrounding.
It indicates the relationship of the object to its surroundings: whether the orange is lying on the ground or, as in this example, floating above it.
The shape, the surrounding and the shadow remain the same, only the position of the shadow was changed.
… to the light
The light makes the surface of the orange look brighter on one side and on the opposite, the shady side, the surface looks darker.
So the orange has to be brighter on the illuminated side and darker on the shady side .
The brightness of the color between light and dark - that is, the "neutral" color - must lie somewhere in between.
Finding
You need at least three different shades of colour (bright, medium & dark) for a picture with light and shadow.
Interjection
The lighting closely observed
How is the lighting created?
Click through the images to learn how the lighting situation in the example comes about and what it provokes.
Hauptlicht von links
Das Hauptlicht trifft von links auf die Orange, der Schatten fällt nach rechts.
Indirektes Licht
Indirektes Streulicht aus verschiedenen Richtungen hellt die Ränder des Schattens auf und formt einen weichen Übergang von hell zu dunkel.
Licht von Reflektionen
Vom Boden reflektiertes Licht hellt den Schatten an der Orange auf, nur ein kleiner Teil an der Orange bleibt dunkel.
What does this mean for your drawing?
You realize that there are not only three, but many more gradations of brightness on the surface.
The more precisely you observe and draw these differences, the more realistic your drawing will be. You can push this so far and make it so accurate until your picture looks like a photo.
A diligence task for the patient is to precisely trace every tiny difference in brightness on the surface.
Details for more spatiality
Remark
A bigger challenge than adding details is to leave out details and simplify things. Because the question is always: what can i leave out and what can i not? I would like to give you the answer here.
The orange needs more details
After our observation of the lighting situation we can add some Details to the light : a bright spot on the lightside (the point of light) and the reflection of light from the ground.
Now we use five brightness values (very bright, bright, medium, dark, very dark).
Now does that immediately look three-dimensional!
Next, the orange needs a stalk base. A very prominent Detail.
The drawing looks quite like an orange now.
But we can do better. Even with hardly more effort!
Schauen wir also noch einmal auf die Fläche innerhalb der Kontur.
There are many irregularities or flaws on the surface. These irregularities have different sizes and different shapes.
But there is one thing they have in common: light falls on all of them and they all cast shadows!
There are longish valleys, round hollows, pointy pits, craters, hills and bumps: a real orange peel skin.
Remark
The irregularities on the surface have a light and shadow side. The big hollow at the stalk base as well as the tinyest craters and pores.
Interjection
Texture - the charakter of the surface between light and dark
How to draw the disturbances on the surface?
Click through the images to learn how the irregularities affect the transition from light to shadow and how you can draw that.
Die zentrale Trennlinie zwischen heller und dunkler Seite der Orange
Augen zusammenkneifen um unscharf zu sehen. Ein unscharfes Bild macht das Erkennen der unterschiedlichen Helligkeitswerte leichter.
Eine genauere Trennlinie zwischen heller und dunkler Seite der Orange zeigt mehr Details.
Schauen wir genauer hin, werden noch mehr Details sichtbar.
Wir können die Trennlinie zwischen dunklen und hellen Bereichen noch genauer zeichnen.
Wir erkennen auch dunklere Bereiche neben der Trennlinie im beleuchteten Bereich …
… ebenso, wie hellere Bereiche auf der schattigen Seite.
What does this mean for your drawing?
- Basically: work from the coarse to the fine. That is, from the simple dividing line via coarse disturbances to fine irregularities.
- Carefully observe the separation between the brightnesses and maintain the difference. (This is a matter of practice and you will get better at it the more you do it).
- Pay close attention to the shape and direction of the disturbances and "islands"! This is very important so that our brain recognizes front and back, above and below correctly. You don't have to understand this - just do it.
- The exact course of the dividing line is not so important: as long as the shape and direction of the irregularities and "islands" are correct, your drawing seems right!
Details für die Oberfläche – Textur zeichnen
So let's draw the detailed surface!
The shape of the shadow is changed by the irregularities on the surface.
Draw the shady area with the 'brighter' dark colour. At the edge, add the irregularities on the surface: larger "bays" with smaller protrusions in them.
Big disturbances on the light side throw their own shadow (yes, on the illuminated side)
In the next step we can continue with adding more details with the darkest colour to the shady side of the surface.
Shadows in the shadow? Indeed, this are the darkest parts on the surface, the shadows of hollows and craters there.
We also add darker areas to the large hollow at the base of the stem.
Finding
- If many irregularities are close together on the surface, connect them to form a single shape.
- Be sure to "disturb" the edges of the surface according to the irregularities.
- Textur zeichnen macht jetzt die raue Oberfläche sichtbar
We do the same with the brightest colour. Let's use it for the bright spots, where the light hits the surface.
Look closely at the shape and size of the bright spots: there are small single spots made by single irregularities, bigger stains caused by bigger irregularities. They are located where the surface disturbances have their light side.
A large cluster of light points is located where the main light hits the surface..
Finding
- The shadow is more important than the light because usually you draw with a dark pen on bright paper.
- Don't put light points in the shaded area because there is no light.
- The texture describes whether the surface is rough, smooth, matte or glossy - the light and shadow make it visible.
I'm sure you'll look even closer now when you want to draw something.
Nun wünsche ich Dir viel Spaß beim Textur zeichnen!
If you liked this tutorial, have any questions or suggestions, just drop me a comment below this post! If you would like more tutorials like this, connect with me on social media! Tell your friends about this blog, and feel free to share it on social media.
I am happy to hear from you!