DOGS
DEPICTING DOGS
Dogs aren’t only a human’s best friend, they are also a favorite subject of artists. Even people who don’t have a dog of their own find them appealing to draw because they are so accessible and expressive. They also come in so many different shapes and sizes, so you can make hundreds of drawings without ever drawing the same dog twice!
Boxer You can tell this is a young dog by his oversized feet and narrow, undeveloped neck and chest. I drew this pup with the Boxer’s characteristic square muzzle, flat face, and pronounced jowl. I also like his inquisitive expression, which is shown in the tilt of his head and lift of his brow.
Golden Retriever This dog has a long, silky coat that obscures the dog’s underlying shape. This time I used an HB in long, flowing strokes around the neck and free-formed loops around the outline. Then I made the eyes and nose stand out by shading them darkly with a 2B.
West Highland White Terrier To draw the long, curly hair of this scrappy terrier, I used the point of a fairly sharp pencil and let my strokes curve freely. Then I used the side of the lead for the dark area of smoother hair over the dog’s back.
Jack Russell Terrier This is a short-haired breed, so I kept my outlines smooth and then shaded in with the side of my pencil. I used a soft lead for the dark sections of the back and ear, and used lighter strokes to suggest the muscles under white hair.
German Shepherd Dog This breed has large, pointed ears, a narrow muzzle, and thick fur with a dark “mask” above the eyes. After laying in the middle values with my HB pencil, I used a blunt-tipped 2B for the dark areas of fur, making short, vertical strokes in the direction the hair grows—outward from the eyes.
STUDYING YOUR SUBJECT
Although all dogs have a similar skeletal structure, there are many differences among the various breeds that you’ll want to capture in your drawings. Look carefully at your subject—whether a live model or a photograph—and try to duplicate the unique characteristics you see. Is the muzzle pointed or square? Do the ears stick straight up or flop down? Are they sharply angled or round? Is the hair long and straight, short and curly, rough or smooth? Then when you’re ready to start drawing, follow the steps in the chart below and try some of the drawing techniques I’ve demonstrated on these pages.
A Girl and Her Pups Here I decided to do a fully developed drawing with a background and props—one that tells a story. I worked from a photo because neither the pups nor the young girl would hold still long enough for me to complete the rendering. Notice the foreshortening on the little girl’s legs. (See here for more on foreshortening.)
PROPORTION & ANATOMY
To accurately render the various dog breeds, it’s necessary to draw the body parts in proper proportion. Proportion is the correct relation between things or parts in regard to size, quantity, etc. An effective method for establishing proportion is to use one body part as a unit of measurement for determining the size of the other parts. For instance, you can use the dog’s head to determine the length and height of the dog’s body; the dog to the right is about 4 heads long and 3½ heads high. Make certain the proportions are accurate before working on any details.
Knowledge of basic anatomy will also help you accurately draw your subject. The diagram below illustrates the various parts of the dog. As you study the dogs in this book, notice how these parts differ according to breed. You will have better results if you do so.
Muscular structure also affects an animal’s form, determining where the contours of the body bulge and curve. Therefore, knowledge of muscle construction allows you to shade drawing subjects with better insight, and your work will be more convincing. The diagrams on this page illustrate the dog’s basic muscular structure. Study the muscles closely, and keep them in mind as you draw. As you observe your subject or model, consider how the location of the muscles might affect your shading.
Once the basic drawing is correct, you can begin to develop the details. The illustrations below demonstrate in steps how to render a dog’s eye and paw. Begin with very simple lines, and slowly refine the shapes. Use a sharp pencil for bringing out the fine details in the eye and for rendering the fur along the paw. Follow the steps closely to achieve a good likeness.
FUR SHADING TECHNIQUES
Shading techniques enable you to transform lines and shapes into three-dimensional objects. By learning how to apply a variety of shading strokes, you will be able to effectively bring out the dog’s form and render the texture of the fur. Dogs of mixed breed, such as the one at the bottom of the page, often exhibit different fur textures. Some areas of fur may be long and wavy, while other areas may be short and smooth. Thus, these dogs are excellent study models.
To recreate the thick, wavy fur above (typical of dogs such as Golden Retrievers), lightly sketch a few short curves in various directions. Develop the texture by adding darker strokes, bringing out sections or individual strands within the coat. When drawing a tight rendering, it’s important to work slowly and make each stroke deliberate so the fur doesn’t appear sloppy.
The tight curls above are typical of breeds such as the poodle. To create this texture, use a sharp knife to scrape graphite from a 2B pencil onto the surface. With a soft cloth, gently rub the graphite until the area is a smooth, even gray. Then, use the corner of a kneaded eraser to pull out small curls from the gray until the overall pattern is achieved. Finally, develop the form of the strands by shading with a sharp HB pencil.
This fur texture appears shorter and smoother than the fur in the examples above and can be found on breeds such as Dalmatians, Doberman Pinschers, and Labrador Retrievers. Make your strokes follow the direction of the hair growth, creating a sleek coat. Also, the highlights and shadows are less prevalent here because of the lack of curls and waves in the hair.
This type of fur is typical of breeds such as the Shar-Pei, covering loose folds of skin. Keep in mind that the shading inside the folds is dark, gradually becoming lighter on top of the folds. It’s also important to notice that even by applying strokes in the same general direction, unique textures and forms can be developed through value changes.
MUZZLES
The shapes of dogs’ muzzles vary depending on the breed. Study the muzzles of the dogs on this page. Some are long and narrow, while others are short and wide. These characteristics will affect your drawing, so observe your subjects well.
Once you establish the shape of the muzzle, you’ll need to draw the nose. To draw the nose, lightly sketch the basic shapes in step A. Then refine the lines, and begin shading inside the nostrils with a sharp pencil in step B. The shading should be darkest near the inside curve of each nostril. In step C, continue shading the nose, taking note of how the value differences create form. As you draw the fur around the nose, make sure its texture contrasts with the smoothness of the nose. Also, keep in mind that the fur grows outward from the nose, as shown in the final step.
PUPPIES
The most important thing to remember when learning to draw is to take it step by step. Focus on learning the drawing process rather than the final product for right now. If you are a beginner, block in with pencil first, and then go over the lines with ink.
In step A, block in the Cocker Spaniel’s head with a hexagon shape. Determine placement of the facial features, as in step B. In step C, the horizontal lines across the pup’s face can create measuring units for locating where the features should be drawn, as well as the distance between the features. For example, the mouth is about two “eye-lengths” below the eyes.
Try this drawing in pencil, watercolor, pastel, or another favorite medium. This particular one was done in india ink.
Start this drawing by blocking in shapes with an HB pencil, drawing each line in the numbered order shown in step A. It’s also important to recognize that the puppy’s whole body is a little more than two of its “head-lengths”; this will help you draw the body in correct proportion. Round out the features in step B, progressing to more detail in step C.
If you spoil a drawing, don’t worry about it! Simply make another one. The important thing is to keep practicing. Don’t expect your drawing to be perfect on the first attempt.
Notice the stroke directions on the pup’s face below. They move away from the nose and spread out to follow the curves of the head. This is how shading creates form.
GREAT DANE
Great Danes have elegant stature and unique faces. While their enormous size (they can reach 30 inches tall at the shoulder) may be slightly intimidating, they are actually very gentle and affectionate, especially with children.
Developing the Shape In steps 1 and 2, use an HB pencil to block in the dog’s large head. Notice the droopy lips and eyelids, which give the subject a pleading expression. Refine the shapes, and lightly shade with a 2B pencil to bring out the form and contours of the head in step 3. The minimal shading will give the coat a smooth appearance.
The erect ears can be developed from simple triangle shapes.
Creating Form Add darker values within the center of the ear to create the curvature of the ears, “carving out” the area through skillful shading, as shown in the final drawing. To enhance the shine of the nose, shade it evenly, and use a kneaded eraser to pull out highlights.
IRISH SETTER
To capture the active disposition of an Irish Setter puppy, it’s best to find a live model to study its mannerisms and expressions. Although the puppies are often shy, if you treat them kindly, they will quickly learn to show affection.
In step A, sketch the outline of the head with an HB pencil, paying attention to the position of the eyes. At a three-quarter view, one eye is less visible than the other. Begin to develop the facial features in step B, along with the longer hairs.
Use a brush and ink to draw the fur, keeping in mind the narrow form of the head. Leave tiny white areas for the highlights in the eyes. This allows you to create an expression unique to the individual dog.
ENGLISH SPRINGER SPANIEL
The wavy coat and friendly expression of the English Springer Spaniel make it challenging to draw. Sketch the block-in shapes with an HB pencil using straight lines, as shown in step A. Be sure the sketch is accurate before continuing.
Although the strokes in the fur appear complicated, they are actually fairly simple. Dip a #3 round watercolor brush in india ink, and use your fingers to smooth the tip into a fine point. Develop the coat by allowing just the brush tip to touch the paper, creating clean lines, as shown in step B. You’ll find that fine, controlled details can be created with a brush.
The broader, more saturated lines around the eye indicate the dark fur color and create facial contours. To apply these lines, completely saturate the brush with ink and let more of the brush touch the paper as you execute the stroke. For the wavy hairs on the ears, use a slightly dry brush so the curved lines have a “shaded” appearance.
SHAR-PEI PUPPY
The Shar-Pei is probably best known for its loose folds of skin. These wrinkles seem to give this breed a worried expression. The puppy shown here has looser skin than an adult; eventually, the body will fill out, and the folds will become less obvious.
As you block in the dog’s shape in step A, use short strokes placed at wide angles to sketch the outline. To develop the folds in step B, start by lightly shading inside the creases. Give equal attention to each fold so the dog appears realistic. Continue to develop the shading with short slash-marks in step C, keeping the values darker between the folds.
ENGLISH BULLDOG
The powerful English Bulldog, with its stocky, muscular body, is a fun, challenging breed to draw. Even though the pronounced underbite of this dog gives it a gruff expression, it is known to be very affectionate and docile.
In step A, block in the general outline with short, straight lines. Keep the legs short and bowed to give the dog its compact, stocky appearance. As you sketch the features in step B, study the low placement of the eyes, as well as how the nose is pushed into the face.
In step C, begin shading with a sharp 2B pencil, developing the folds on the face and the contours and shadows along the body. Keep the pencil fairly sharp to make the folds distinct and the fur smooth. Use a sharp pencil to add the details in the eyes. As in all the drawings, work at your own pace, and don’t rush when shading the fur. Your attention to detail will be apparent in the final rendering.
DOBERMAN PINSCHER
Doberman Pinschers are known for their sleek, dark coats. When drawing the shiny coat, be sure to always sketch in the direction that the hair grows, as this will give your drawing a more realistic appearance.
Step One With a sharp HB pencil, block in the boxy shape of the Doberman’s head and shoulders with quick, straight lines. Even at this early stage, you want to establish a sense of dimension and form, which you’ll build upon as the drawing progresses.
Step Two Using the lines from the previous step as a guide, adjust the outline of the ears, head, and neck to give them a more contoured appearance. Then add the eyes and nose, following the facial guidelines. Finally refine the outline of the muzzle.
Step Three Next erase any guidelines that are no longer needed. Then begin placing light, broken lines made up of short dashes to indicate where the value changes in the coat are. These initial lines will act as a map for later shading.
Step Four For the dog’s short hair, begin with small, dark hatch marks to establish the bristly, coarse nature of the coat. Then fill in the darks of the eyes and eyebrows, and dot in a few light rows of whiskers at the tip of the muzzle.
Step Five Now fill in the remaining darks. First create some graphite dust by rubbing a pencil over a sheet of fine sandpaper. Then pick up the graphite dust with a medium-sized blending stump and shade in the dark areas of the dog’s fur and nose. To avoid hard edges, blend to create soft gradations where the two values meet.
GOLDEN RETRIEVER
1 First I establish the gesture line of the sitting dog with a curve that spans from the top of the head to the ground. Then I cross it with a curved horizontal line to mark the center of the chest. Along the vertical line, I add ovals and a circle for the head, muzzle, chest, and body; I also place an oval for the left hind leg.
2 Next I add the basic shapes of the folded ears and I roughly outline the body around the ovals, adding the front legs, paws, and tail.
3 Now I erase the initial guidelines for the body. Then I add sweeping, curved lines along the chest and body to suggest roundness. And I also add guidelines for the facial features, placing a line for the eyes about one-third of the way down the face and lines for the nose about halfway down. Then I use straight strokes to mark the individual toes.
4 At this point, I place the facial features according to the guidelines. Then, following the curved guidelines created in step 3, I add V-shaped marks over the chest to indicate the ruff, and I sketch in the first waves of the coat. Then I erase the initial gesture mark, along with any additional remaining guidelines.
5 Now I develop the texture of the coat, stroking in the direction of the fur growth. Notice that the hair on the face is short, growing outward and down from the nose and eyes. The lower front legs and paws also have short hair, which I suggest with quick hatch marks. The rest of the body has longer hair, so I convey this using flowing, wavy strokes of varying thicknesses. Finally, I lightly blend the strokes by dragging a wedge-shaped kneaded eraser over them, following the curve and direction of the strokes as I drag.
FOCUSING ON CONTRAST
When working with a light-colored dog, it’s particularly important to diminish the level of detail in the background. Light-colored dogs don’t have much contrast in their hair, so the background elements easily can attract the eye. Keep any intricate elements lighter in value and refrain from adding fine details, such as veins in leaves. This will keep the viewer’s focus on the dog.
Emphasizing the Subject As is, the photograph has too much detail. I decide to take the background “out of focus” by blurring, lightening the overall values but maintaining enough contrast with the dog’s coat. This emphasizes the sleek shape and muscular stature of this mostly white Parson Russell Terrier.
Step 1 Using an HB pencil, I sketch circles for the skull, chest, hips, and muzzle. Once I’m sure the relationships of these circles match the reference, I join the circles to create the outline of the dog’s body. Then I indicate the position of the legs, tail, and ears. I also add a guideline up the center of the dog’s face to help me position the features. At this early stage, the sketch is already recognizable as a Parson Russell Terrier!
Step 2 Next I focus on refining the outline, following the subtle curves that make up the shapes of the dog. Then I erase the circular guidelines that I no longer need. I indicate the shadowed area of the neck and head with a few short strokes, which will speed up the shading process later. I also block in the eyes, nose, and brows. I don’t indicate the paws because they will be hidden in the hay.
Step 3 I begin the shading by tackling the facial features. At this stage, I use a 5B pencil and only block in the darkest areas, including the eyes, the shadow on the nose, the mouth, and edges of the ears. The dog has a black patch around its left eye, which I darken as well.
Step 4 The head is relatively small, so attaining detail will be a challenge. With a sharp H pencil, I apply midtones to add hair around the eyes and on the mouth, cheekbone, jaw line, and ears, applying short lines that follow the direction of hair growth.
Step 5 I use an H pencil and short strokes to add the lightest areas of hair over the face, gradually fading out the strokes as I progress toward the top of the head. Then I add mid-value dots near the mouth to represent the areas from which the whiskers grow.
Step 6 Now I switch to an HB pencil and begin stroking in areas of hair on the torso, first addressing the darkest areas in shadow, such as along the insides of the far legs. Every stroke I make on the body is short and follows the direction of the hair growth, accurately communicating the feel of this dog’s short, smooth coat.
Step 7 Still using the HB, I continue stroking in hair across the entire torso, layering my strokes smoothly and evenly. I develop the shadows of the dog’s form that indicate the muscles beneath, such as on the hind and front legs.
Step 8 I take a second sweep across the body using a 2H pencil, adding the subtle middle and light tones, and reducing the pressure on the pencil for the lightest areas. The muscle definition of the Parson Russell Terrier is an important characteristic of the breed, so I pay great attention to where the muscles sit, particularly around the shoulder and hind legs. I emphasize them by shading the undersides of the muscles.
Step 9 At this point, I add tone to the hay with an HB pencil. This is the only area that directly touches the dog, so I need to get its tone and value to sit well with those of the dog. I use negative drawing to begin, just as I do for intricate hair. Because hay doesn’t follow any particular pattern or direction, I sketch it in using random pairs of parallel lines that cross each other.
Step 10 With a 2B pencil, I fill in the negative areas of the hay with the tone of its darkest shadows. You can see that this simple approach immediately produces the impression of hay. As I continue to add the shadows, I gradually fade out the edge of the hay along the bottom and sides. If any part of the edge is too harsh, I roll tack adhesive over the area to lift out some graphite and lighten the overall tone.
Step 11 Switching to an HB pencil, I begin adding the wall and foliage in the background, pushing the dog forward and creating a sense of depth. I add tone to the wall on the right, giving the area interest by adding a cluster of twigs. Then I draw ivy growing up the left two-thirds of the wall. To avoid attracting too much attention to the background elements, I keep them indistinct by blurring them slightly with a blending stump.
Step 12 I continue addressing the background of the drawing, working upward with an HB pencil as I finish the ivy, ending just above the dog to contrast with the light value of its back. I add a middle value to the window behind the head to contrast with both the light and dark hair. Then I stand back from the drawing and focus on areas where the dog blends into the background, darkening or lightening where needed. To finish, I sharpen details on the dog and blend any harsh lines of the background.