WILD ANIMALS
ELEPHANT
Elephants are a new drawing experience for me. Study them closely before trying to draw them. Have you ever noticed their back legs bend just like a human’s?
Begin this elephant by drawing the oval in step A and then building upon it. In step B, use the oval as a guide for blocking in the main animal parts. To create the illusion of a thick hide, lightly sketch guidelines where the skin folds will be. As you begin to shade, press harder on your pencil for deeper folds, and lighter for shallow folds. The strokes on the elephant are rather dark and abrupt in order to produce the appearance of a rough-textured exterior.
The shading should follow the shape and form within each area of the elephant’s body. For example, draw long, horizontal strokes on the neck, a combination of different stroke directions on the belly, and vertical strokes on the back. This shading technique gives form to the elephant, making it appear solid.
GAZELLE
For the gazelle, attempt to draw both walking and jumping poses. The two series of steps shown here illustrate how each one begins with completely different block-in lines. When you add the details, try to capture the animal’s graceful qualities.
Often the beauty in drawing lies in simplicity. Notice the pleasing effect when all unnecessary lines and shading are left out.
GIRAFFE
Accurate proportions are important when drawing the giraffe; when blocking in your drawing, consider how making the legs too short or the neck too thick would alter the animal’s appearance.
Step One To begin, block in the basic shape of the giraffe, adjusting the lines until you are satisfied with the proportions. Notice that the giraffe’s neck is as long as its legs, and its hindquarters slope down sharply.
Step Two Now begin to refine the shapes of the legs and rump, smoothing the outline. Then begin placing the features and blocking in the pattern of the coat. For this species of giraffe, the spots all have slightly different irregular shapes, with small gaps between them.
Step Three Now erase any stray sketch marks and focus your attention on rendering the giraffe’s face. (See the details in the box below.) Then fill in all the dark patches of the coat, adding the mane with a 2B pencil and short, dense diagonal strokes.
Step Four In this final step, after shading the face, add the shading beneath the giraffe’s body and head. To keep the giraffe from appearing to float on the page, draw the ground with tightly spaced diagonal strokes.
IGUANA
1 I begin my drawing of this poised-to-leap lizard with a few pencil gesture lines; one for each visible leg and one curving from the top of the head down to the tip of the tail. Then I block in the head and body, and I create the boxy shape of the lizard’s mouth and nose.
2 Now I begin to outline the iguana, adding the droop of skin beneath the round chin and defining each toe and claw. I adjust the lines as I draw, knowing that I will eventually erase all the pencil marks as I transform my drawing with pen and ink.
3 At this point, I finish the outline with a waterproof ink pen. I also add the striped pattern to the tail and the spikes along the iguana’s back. I use a few strokes to show the iguana’s rough skin, as well as curving lines that suggest the sag under the skin. After the ink dries, I erase my initial pencil marks.
4 Then I add shading with ink thinned with water. (Because the ink used in the previous step is waterproof, I don’t have to worry about marring it by applying washes on top.) Using a pointed soft brush, I lay in the shadows beginning with light washes and slowly building up to darker values, such as those beneath the chin and on the left claw. (For extra caution, I test each wash on scratch paper before applying it to the drawing; it’s difficult to determine the value of the ink wash until it is applied to paper.)
BABOON
1 I block in the inquisitive pose of this baboon using a sharp HB pencil. I begin with the general shape of the head, placing guidelines for the main features. Next I sketch the round line of the body and roughly block in the shapes of the legs and arms. Then I place the curves of the tail.
2 Without further developing the outline, I start adding the facial features. I use a dull HB pencil to shade around the eyes and nose, always stroking in the direction in which the hair grows. I also start to refine the outlines of the hands and feet, indicating the individual fingers and toes.
3 I continue to develop the coat texture around the face and on the back. Because the baboon is covered in hair, I choose to leave out any harsh outlines. Instead I apply a series of short, parallel strokes that follow the initial outlines from step 1.
4 I finish developing the shading on the body, adding strokes to the darkest areas of the baboon but leaving the lightest areas completely white. Finally, I add a cast shadow to the ground beneath the baboon with the flattened point of an HB pencil.
ANTELOPE
1 First I establish the placement of the antelope’s head, muzzle, neck, chest, torso, and rear end. I don’t sketch in the legs at this step so that I can assess the proportions of the head and body before moving on.
2 Now I add the front and back legs, making them the same height as the distance from the top of the head to the bottom of the chest. I use the circles that indicate the chest and rear sections to determine the placement of the legs.
3 Next I refine the outline of the body, connecting the initial shapes with a smooth contour. I also lightly sketch in blades of grass and mark the position of the eyes, nose, mouth, and horns, adjusting their placements until I am satisfied with the proportions.
4 I add a few patches of shading to indicate form on the face, horns, and body. I also add shadows to the areas where the light does not hit, such as on the antelope’s underside and upper areas of the far legs. Then I apply the final details to the horns, ears, and eyes, adding a little more grass to complete the drawing.
FLAMINGO
1 With an HB pencil, I start by placing the flamingo’s head and body using egg shapes. Then I sketch the S shape of the neck and the large, curved beak. I add a triangle shape for the tail, and draw the outline of the legs and feet, placing ovals for the “knees.” Note that the legs are about the same length as the distance from the top of the head to the base of the body.
2 Now I refine the outlines and begin marking the placement of the major feathers on the body. Then I start developing the head and beak, refining the outlines and placing the eye, facial muscles, and beak pattern.
3 Next I erase any guidelines that are no longer needed. Then I add light shading to the underside of the body and the upper legs with short, curved strokes. I continue developing the head with a few feather details, and then I darken the tip of the beak.
4 Now I add the final details. First I finish shading the flamingo’s neck and belly using a soft pencil in the underhand position; I make short strokes in the direction in which the feathers lie. I shade more intensely on the right and on the underside of the flamingo, as the source of light is coming from the upper left. I add texture to the legs and feet with squiggly lines. Finally, I create the final feathers on the flamingo’s back with long, curved strokes.
TOUCAN
Birds come in all shapes, sizes, and textures. This toucan’s long, smooth feathers require long, soft strokes. Soft shading is also used to indicate the smooth texture of this bird’s beak.
Step One Use basic shapes to block in the toucan; establish the body with a long egg shape, the head with an oval, and the tail and beak with rectangular shapes. Make the large beak almost twice as wide as the head, and the tail half as long as the body.
Step Two Now add the legs and feet, posing the toucan on a branch. Be careful to make your preliminary lines light, as it may take several sketches to make the bird appear balanced over its legs. Mark the opening in the beak and the position of the eye.
Step Three Next refine the outlines and erase any guidelines you no longer need. To suggest the feathers, add a few strokes along the wings and tail. Then begin to shade the beak with long, perpendicular strokes using the side of a sharp HB pencil. Now begin shading the top of the head and small areas of the chest.
Step Four Finally shade the wing and tail using the side of the pencil and stroking in the direction of feather growth, giving the underside the darkest value. Then add the details to the feet and branch, suggesting the cylindrical nature of each with curved strokes.
CHIMPANZEES
1 With circular strokes and a sharp HB pencil, I build the basic form of each chimp’s body. Note that—unlike humans—chimpanzees have longer arms than legs.
2 Next I block in the feet and hands with straight lines. I also mark the placement of the facial features, sketching in the outlines of the mouth, eyes, brow, and ears.
3 At this point, I soften the outlines of the chimps with uneven, curved strokes and dashes. The outlines should not be solid and smooth; they should suggest the hairy texture of the chimp’s coat. I also draw the hands and feet inside the guidelines from step 2.
4 Now I erase any initial guidelines that still show, and I begin shading in the chimps’ dark coats with a soft pencil. I apply short strokes that follow the direction of the hair growth, adding fewer lines to the highlighted areas and more to the shadows and creases.
5 I finish shading the chimps and add the final details to the faces, filling in the eyes and the mouths. Finally, I add a simple, natural background to create a dynamic outdoor scene.
LION
1 I begin by blocking in the basic shape of the lion with a series of short, rough lines. I use an HB pencil so that the markings are light enough to erase thoroughly. I adjust the proportions as much as is needed before moving on.
2 Now, using the same pencil, I sketch the position of the eyes, nose, and mouth. Note that the top of the nose is about halfway down the face, and the eyes are about one third of the way down. Then I begin to indicate the lion’s form by marking a few lines near the leg joints and on his side; these marks will later serve as guides for shading.
3 Next I start refining the outlines of the lion’s body and legs by rounding out the sharp corners. For the mane, I begin adding the hair with curved lines, stroking from the edge of the lion’s face outward. I also begin to shade the lion’s face, applying small patches of parallel strokes.
4 I continue to develop the lion’s mane, placing the strokes close together and changing the values by altering the amount of pressure I apply on the pencil. This variation in value gives the mane a sense of dimension with a minimum number of strokes. I now erase any initial sketch marks I no longer need and continue to develop the shading on the face. I also begin to add shading to other areas of the body, including the belly, the upper back, the front legs, and the lifted paw.
5 I continue to build form by shading the dark areas on the face and body. I use short, straight, and parallel lines that follow the direction of the hair growth to create a convincing coat. To complete the drawing, I use a soft 2B pencil to apply the final details to the lion, such as the dark whiskers, tail, and eyes. Finally, I add several strokes near the lion’s feet to suggest grass.
GIANT PANDA
Pandas are an easy subject to approach when you begin with simple shapes. Start with circles for the head and body; then add ovals for the arms, legs, and paws. Add the details, such as the eyes, nose, and bamboo leaves. Then use soft, short strokes to indicate the texture of the panda’s thick black-and-white fur. When rendering hair, always stroke in the direction it grows.
Step One First establish the panda’s overall shape and pose. Start with a circle for the head and a larger oval for the body. Then draw a series of ovals for the arms, legs, and feet, dividing the left arm into upper and lower sections. Also mark the general shape and position of the ears, the eye mask, and the nose.
Step Two Next place the eyes, refine the shape of the nose, and sketch in the branch of bamboo. Use the side of a soft pencil and make short, soft marks around the outlines to indicate fur. Then begin shading all the black areas on the coat with an HB pencil, stroking downward in the direction of the hair growth.
Step Three Now erase any remaining guidelines and continue shading the black areas of fur. Then use a blending stump to smooth the pencil strokes, creating the illusion of soft fur. Add a few closely spaced strokes in the white fur to give it dimension and suggest the underlying muscles. Then draw the footpads and toenails.
Step Four Continue to develop the shading with soft, short strokes to show the fur’s texture. Also keep building up the panda’s form by varying the shading of the fur; for example, darken the areas between the arms and the body, as well as the areas on the legs that are closest to the ground. Finally add the details to finish the feet, claws, nose, and eyes.
AMERICAN ELK
The American elk is also called a red deer or wapiti and is a beautiful, majestic creature. Refer to photos because it can be complex to draw.
Step A begins, like many other animal drawings, with a circle. To block in the rest of the body, draw each line in the order of the numbers above. Establish the elk’s stance in step B by smoothing out your initial lines. Carefully study each body part in relation to the entire body so the animal that emerges is in proportion. Add features and begin shading, paying attention to the long horns, angular face, and thick, rounded muscles.
MOOSE
Moose have heavy bodies with humped shoulders and long legs. (The front legs are longer than the hind ones.) Their bodies are usually dark brown, and their legs are light tan. They have short necks and a flap of skin and hair hanging down from the throat called the bell. The female moose has no horns or antlers, but her body frame is very similar to her male counterpart. Start with an oval first in step A. In steps B and C, develop the pose and fill in some elementary features. Then start shading to give the animal form.
The graceful pose of this female moose creates a peaceful feeling within this drawing. Notice, however, how her ears stick straight up, communicating that she is still very alert and listening for sounds. All of these details are important to the drawing’s total statement.
The drawing below was left slightly incomplete so the shading steps are visible. The back of the moose shows the beginning stages of shading, while underneath the shading is layered for a more finished look.
As mentioned previously, look for elementary shapes before beginning to draw. The bull moose starts with a mere oval, as shown in step A. Remember that even the slightest change in the oval will affect the position and shape of the body.
Steps B and C demonstrate how to develop the rest of the body from the first shape. Where the legs extend from the body is extremely important. Each animal stands in a distinct way, and placing its legs incorrectly could result in an unrealistic drawing. So observe your subjects carefully!
Bull moose are enormous animals. They may not necessarily be considered beautiful, but out in the wild, they’re an amazing sight!
When drawing a subject of this size, it’s important to communicate the animal’s strength. The different shading areas show muscular form. The moose’s thick neck and massive shoulders also convey the animal’s power.
BISON
1 I begin by using an HB pencil with a rounded point to sketch the rough shapes of the bison’s face, horns, and mane. As this is a straight-on portrait, I am careful to make this early composition as symmetrical as possible. I mark for indentations just below the eyes and square off the face where the “beard” begins.
2 Now I block in the structure of the face, indicating the different planes of the muzzle and the slope of the forehead. I will later use these lines as guides for shading, eliminating the hard lines by softening them with short, parallel pencil strokes.
3 Next I add the facial features, including the eyes, ears, and nostrils. I place the ears just below the base of the horns, and I place the eyes level with the bottom half of the ears. Note that the eyes are extremely far apart; they should be placed slightly wider than the corners of the mouth. Then I begin refining the outline of the nostrils and mouth.
4 Now I begin shading the bison, suggesting various textures. For the flowing hair beneath the mouth, I use long, slightly wavy lines that are heaviest at the base of the chin. To suggest a shorter, curlier coat on the face and the top of the head, I use the side of a round-tipped pencil to apply several short strokes and squiggles. I also begin shading the horns with curved lines that follow the cylindrical form.
5 Now I finish shading all the different textures, and I add the details to the eye (see the box below). Finally, I stand back from the drawing to assess it and decide to add greater value contrast by placing several dark strokes with a softer pencil along the jawline, in the ears, and in the eyes.
WOLF
1 With an HB pencil, I sketch in the wolf portrait, focusing on the main shapes. I use a series of straight lines to outline the head and face; then I add the curved shape of the muzzle and two triangular ears.
2 Next I place the eyes and nose and mark the cheek areas. I also begin to refine the ears and follow the outline of the wolf with short strokes and wavy lines that suggest the coat’s texture.
3 Now I begin shading in the coat, applying graphite first to the darkest areas (for example, inside the ears and beneath the muzzle). I vary the length, value, and curve of each stroke to depict the different coat textures.
4 I finish developing the shading and texture on the wolf, avoiding only the highlights on the ears, the forehead, and the top of the muzzle. Finally, I complete the details on the face, shading in the eyes and nose and adding highlights with a pointed kneaded eraser.
RATTLESNAKE
1 To begin drawing the rattlesnake, I create a rough outline of the coil and block in the shapes of the head and rattle. Here I draw through the snake’s body, meaning I draw the line behind the tail, even though it won’t be visible in my final drawings. This will help me keep my drawing accurate.
2 I then mark the position of the eye and mouth, adding a Y-shaped tongue. To create the illusion of scales, I draw backward C-shaped strokes along the sections of the body closest to the viewer.
3 Next I finish applying scales to the body and begin shading in the snake’s diamond skin pattern. Then I erase any sketch marks I no longer need and add cast shadows beneath the coils.
4 I finish adding the snake’s markings and apply further shading and details to the rattle and the head. I add a shadow along the lower third of the body to create form, giving it a cylindrical appearance. To finish the drawing, I establish a sense of ground by suggesting pebbles and a rough surface.
POLAR BEAR
1 I begin by sketching the general outlines of the body, head, and legs of the polar bear, paying careful attention to proportions. I draw a few lines to indicate the length of the massive neck and two quick strokes for his chest. Notice that the head is slightly lower than the rear, and that the front legs curve slightly inward.
2 Next I add the ears with two concentric semi-circles and block in the squarish nose. I also sketch the outline of the thick ice floe beneath the bear’s feet. I start with an irregular half-oval and then draw a matching line beneath it, connecting the top and the base with vertical lines.
3 Now I place the eye and begin building the form of the feet with circular strokes. To suggest the mass of ice in the background, I add four broken horizontal lines behind the ice floe.
4 I begin shading the bear with short, gently curving strokes that follow the direction of hair growth. I apply strokes to only a few areas, including the underside, the back, and the face—just enough to suggest the texture but still maintain the white of the coat.
5 At this point, I refine the outlines and apply the final details to the drawing. I use the side of a sharp HB pencil to shade the water and the bear’s cast shadow, and I use a round-pointed HB pencil to add ripples of water and shading on the front of the ice floe. I also shade the nose, eye, and inner ear, and I add a few darker strokes to complete the polar bear’s coat.
PENGUINS
1 Using an HB pencil, I sketch the body and head of each penguin with ovals, tilting the positions of the bodies. I arrange them in a U-shaped formation rather than in a straight line to lead the viewer’s eye through and around the drawing.
2 Now I add the beaks with simple curved and straight lines, placing them to the right of the center of each head. I also add the short legs and the shapes of the wide, webbed feet. Then I add a few lines to establish the ground.
3 Next I add the eyes and place the wings and tails, shading with parallel strokes and a round-pointed 2B pencil. I also add some thin, curving lines beneath their feet to begin developing the ground surface.
