How to Draw a Crocodile

Bước một bước

1. Bước 1

   Draw the ribcage first. It is the biggest mass in the crocodile.

   The ribcage is the largest single mass in almost every four-legged animal, and drawing it too small is the most common structural error in the whole category. Draw it in one motion and make it bigger than feels right.

   Cẩn thận! Drawing the chest small to leave room for everything else.

   Kiểm tra The chest oval should take up around a third of the body's length on its own.

2. Bước 2

   Place the second mass, the pelvis, behind the ribcage.

   The gap between the two masses is information: it is most of what separates a long animal from a compact one. Decide the gap deliberately rather than letting it happen.

   Cẩn thận! Butting the pelvis directly against the chest.

   Kiểm tra You should see clear space between the two ovals.

3. Bước 3

   Join the two ovals with a single spine curve.

   One continuous curve, drawn in one pass. The spine sets the whole animal's attitude, and a spine assembled from three short strokes reads as three different animals stitched together.

   Cẩn thận! Drawing the spine as separate flat segments.

   Kiểm tra The curve should touch both masses without a corner.

4. Bước 4

   Add the head as a small oval on the end of a neck line.

   Note where the neck leaves the chest before you place the skull - on most animals it comes off the front of the chest mass, not the top, and that single angle carries the species.

   Cẩn thận! Hanging the head above the body instead of in front of it.

   Kiểm tra The neck guide should leave the FRONT half of the chest oval.

5. Bước 5

   Give the neck thickness with two curves.

   A neck is a solid with real thickness, and on most animals it is thicker than you think - nearly as deep as the head itself. Two curves, one over, one under.

   Cẩn thận! A thin stick neck, which makes any animal look fragile.

   Kiểm tra The neck should be nearly as thick as the head is tall.

6. Bước 6

   Draw the topline and the belly to join the masses up.

   This is where the animal stops being two eggs. Let the topline follow the spine you already drew and keep the belly line taut - a sagging belly is a decision, not an accident.

   Cẩn thận! Ignoring the spine curve you drew and inventing a new back.

   Kiểm tra The topline should agree with the spine curve underneath it.

7. Bước 7

   Put the belly in, sagging slightly.

   The belly is a separate decision from the masses: it hangs below the line joining them, sagging most midway, and how much it sags is part of the animal - taut on a deer, generous on a cow. Draw it as one curve, not two arcs meeting.

   Cẩn thận! A straight line between the ovals, which reads as a table.

   Kiểm tra The belly should dip below both mass bottoms at its middle.

8. Bước 8

   Add the two closing curves - chest front, rump.

   Two curves seal the body into one shape: down the front of the chest into the belly, and from the top of the hips around the rump to meet it. Without them the animal has no front or back and the legs float - this is the step that turns parts into a body.

   Cẩn thận! Leaving the ends open because the ovals suggest them.

   Kiểm tra You should be able to trace the whole body without lifting your pen.

9. Bước 9

   Draw the front pair of legs.

   Legs are chains of segments with a joint at each bend, and every leg bends somewhere. Draw joint to joint in straight strokes first; curves come later if at all.

   Cẩn thận! Straight tube legs with no joints, which read as furniture.

   Kiểm tra Each front leg should bend at least once.

10. Bước 10

    Now the back legs, comparing them to the front pair.

    The hind legs fold the opposite way to the front pair - the hock points backwards. Compare their length against the front legs rather than judging them alone.

    Cẩn thận! Back legs bending the same way as the front ones.

    Kiểm tra Front and back feet should reach the same ground line.

11. Bước 11

    Place the ears, and get their shape right.

    Ears attach further back on the skull than feels natural, and their shape is one of the strongest species signals you have. Draw the second by comparing it to the first.

    Cẩn thận! Planting the ears on top of the head like handles.

    Kiểm tra Both ears should attach behind the midpoint of the skull.

12. Bước 12

    Put in the snout, the eye and the nose.

    The muzzle projects forward from the lower half of the head mass. Its length relative to the skull is the proportion to measure - it is the one that changes species when you get it wrong.

    Cẩn thận! A muzzle pointing down instead of forward.

    Kiểm tra The eye should sit in the top half of the head mass.

13. Bước 13

    Add the tail and anything else specific to a crocodile.

    Detail is suggested, never itemised. Put the marks where they identify the animal and stop early - texture spread evenly everywhere flattens the drawing back out.

    Cẩn thận! Covering the body evenly in fur marks.

    Kiểm tra Step back: the big shapes should still read first.

14. Bước 14

    Draw the eye properly - iris, dark pupil, a dot of light.

    An eye is built in layers - iris, pupil inside it, one small highlight, and the brow line above that gives it a direction to look. The highlight and pupil must not touch, and the brow is what turns a circle into a gaze. This one feature carries more life than the rest of the head together.

    Cẩn thận! A single black dot, which reads as a bead.

    Kiểm tra The highlight should sit at the pupil's edge, not inside it.

15. Bước 15

    Add a foot line and toe mark to every leg.

    A leg without a foot is a pole. One short base line at the bottom of each leg, angled with the ground, plus a single toe split, and all four legs suddenly bear weight. Feet are also where the ground line will attach, so place all four bases at nearly the same height.

    Cẩn thận! Legs ending in points, or feet at four different heights.

    Kiểm tra All four feet should sit within one pencil-width of the same line.

16. Bước 16

    Add the ground: one line, and the shadow beneath the body.

    The ground is one line through the feet, and the cast shadow is one flattened arc beneath the body, darkest between the legs. Together they anchor the animal - without them even a perfect construction floats in white space. Keep the shadow tight under the body; a wide puddle reads as water.

    Cẩn thận! Skipping it, leaving the animal hovering.

    Kiểm tra The shadow should touch at least two of the feet.

17. Bước 17

    Add short fur marks off the outline - never all the way round.

    Fur is an edge event: a few tufts where the coat genuinely hangs - chest, belly, rump - and nowhere else. Each tuft leans the way the coat grows, back and down, and the outline should still read as one body between them. This is also where the sealed construction line stops looking mechanical.

    Cẩn thận! Scalloping the entire outline evenly, which turns any animal into a sheep.

    Kiểm tra Most of the outline should still be smooth between the tufts.

18. Bước 18

    Add a patch of shading beneath the body.

    Two or three patches of parallel strokes - under the belly, behind the shoulder - all leaning the same way, and the drawing suddenly has light in it. Keep the patches small: shading in a sketch is a note about where the dark lives, not a rendering.

    Cẩn thận! Scrubbing tone everywhere, which flattens the sketch it took fifteen steps to build.

    Kiểm tra All the hatch strokes should lean the same direction.

19. Bước 19

    Go over the lines you are keeping and lose the guides.

    Press harder on the outline and the face, leave the small marks light, and erase the construction ovals. That weight difference is what makes the drawing look decided.

    Cẩn thận! Going over every line at the same weight.

    Kiểm tra The outline should be clearly darker than the interior marks.