Banana: Alcohol-Based Markers

How to Draw a Banana with Markers

Let’s put to practice everything that we learned today. Our project will be quick and fun!

First, I prepare a set of markers that seem to be a good fit for the art. I refer to my pages of swatches. When in doubt, try the markers in a combination on a spare piece of paper.

I’m going to draw a banana that has some brown spots on its peel. Therefore, I’ve chosen several variants of yellow and some browns. Also, we’ll need gray markers to change the tone and intensity.

I’m going to include a little bit of light violet, which is the opposite of yellow on the color wheel. This tint will make the sketch more realistic and interesting.

All markers are by Finecolour Brush.

I’ve prepared a sheet of marker paper with the main contours of the banana. The object is sketched with an HB graphite pencil.

The lines should be light because excessive graphite may contaminate marker applications. Soften the contours with a kneaded eraser, if necessary.

I start with lighter colors, Y2 Maize and Y3 Mid Yellow. The working tip for all of the steps that follow is a Brush.

I apply Y2 mostly to the upper part of the banana. It is assumed that this area gets more light from the environment. I cover the rest of the banana with Y3, which is more saturated.

Remember how to make seamless gradients? Apply the first color, then add the second one, and quickly blend the border between them with the first color. The same principle goes here – don’t let this new shape overwhelm you.

In this case, the lighter Y2 is our first color, and the darker Y3 is the second.

I’m holding both markers in my hands all the time. (When I’m drawing with Y2 in my right hand, Y3 stays ready in my left hand, and vice versa.) This allows for changing the tools as fast as possible, before the inks dry.

Now it’s time to add some yellows that are more vibrant. I add Y225 Acid Yellow mostly to the top of the banana. Y5 Deep Yellow is applied as its companion to the bottom part.

The border between both colors is blended with Y225.

If you still see separate strokes, it may be a sign that your art needs another layer of marker applications. Adding more inks of the lighter color is a way to create a smoother transition.

However, in this case, we can leave some visible strokes to accent the texture of the overripe peel.

With Y17 Pale Ochre, I work on the form of the banana, giving it more volume. I create some soft core shadows and mark the edges.

If we apply this color alone, it may create a harsh contrast with existing yellow layers. That’s why I blend Y17 with Y3 Mid Yellow. It will soften the brownish strokes.

Pay attention to the order of applications for this step! Sometimes we apply the darker color first, and then blend it with the lighter one. But this happens mostly after the base layers (formed with lighter colors) are already in place.

I add some spots on the banana peel, using Y9 Olive Gold. The Brush tip is great for creating such varied, spontaneous marks of various sizes.

I blend some of the spots with Y3 to make them softer and more blurry.

With YG10 Green Parka, I add darker spots. Y3 can be used again to blend them.

I use YG10 to outline the edge between the sides of the banana peel.

I use TG257 Toner Gray #8 to add a few more spots on the peel. (They are really dark!) I soften them with Y17 Pale Ochre. I also accent the stem.

If you don’t have any Toner Grays, it’s possible to use a marker from the Warm Gray or Neutral Gray family.

I used thin marker paper for this drawing (it’s 100 gsm), so this amount of inks makes it buckle a little. Luckily, we’ve completed the banana!

I add a cast shadow under the banana, using CG268 Cool Gray #2. This shade covers a relatively large area. Then I add some YG262 Yellow Gray #4 closer to the banana.

Then I blend the border between the two grays with the lighter marker.

With TG257 Toner Gray #8, I increase the contrast in the area where the banana touches its cast shadow.

I blend this shade with lots of YG262. There is a substantial gap in value between those grays. The surface of the paper should be wet with an alcohol solvent to make this gradient happen.

The sketch is almost complete. To make our banana more realistic, I add some BV197 Mauve to the lower part of the banana. I accent the core shadow and mute the area of reflected light. I also add this color to the cast shadow.

I use CG268 Cool Gray #2 to blend this color a bit more.

Light violet brings some depth and credibility to the sketch. Yellows look more vibrant due to this contrast.