How to Draw a Fox

Passo dopo passo

1. Passo 1

   Bloccate il cerchio della testa di volpe.

   Everything else gets measured against this, so draw it in one motion rather than in short careful passes. A slightly lopsided shape drawn confidently is more use than a perfect one built out of twelve nervous strokes, because you can correct a shape and you cannot un-see a hesitant line.

   Attenzione Drawing it small to leave room for detail. The big shape is most of the drawing - use the space.

   Controlla It should fill most of your page, with a margin all round.

2. Passo 2

   Aggiungete le due linee centrali, leggermente.

   These are the rulers for everything that follows. Without them the two halves of the fox drift apart by a few millimetres at a time and you do not notice until it is finished and subtly wrong. Press lightly - they come off at the end.

   Attenzione Skipping them because it looks symmetrical already. It will not be by the time you are done.

   Controlla They should cross at the middle of the shape you just drew.

3. Passo 3

   Disegna la museruola come un lungo cuneo stretto.

   This is the shape that says fox rather than dog. It comes off the lower half of the circle and it is longer and thinner than feels right - compare its length to the head circle rather than guessing, and it should be about half as long as the head is wide.

   Attenzione A short, wide muzzle, which reads as a puppy.

   Controlla The muzzle should be about half the head's width in length.

4. Passo 4

   Disegnare il primo orecchio: un triangolo alto, inclinato verso l'esterno.

   Fox ears are big - roughly as tall as half the head circle - and the outer edge curves in slightly rather than running dead straight. Set the angle deliberately, because the two ears must agree.

   Attenzione Making the ears too small and too upright.

   Controlla The ear should be about half the height of the head circle.

5. Passo 5

   Disegna il secondo orecchio per abbinare il primo.

   Compare it to the one you just drew rather than to your idea of a ear: same size, same angle, same distance from the centre. This is the comparison habit that fixes proportion everywhere, and a pair is the easiest place to practise it because the error is obvious once you look for it.

   Attenzione Making the second ear smaller - it usually happens because your hand is more cramped on that side.

   Controlla Both should sit the same distance from the centre line.

6. Passo 6

   Aggiungere l'orecchio interno come un triangolo più piccolo all'interno di ciascuno.

   Set in from the edges and slightly lower than the outer point. This is where the dark goes later, and it is what makes an ear read as a cup rather than as a flat shape stuck to the head.

   Attenzione Inner triangles that touch the outer edges, which flattens the ear.

   Controlla There should be a visible margin all round each inner triangle.

7. Passo 7

   Posizionare gli occhi sulla linea centrale orizzontale.

   Fox eyes are almond-shaped and angled - the outer corner sits higher than the inner one, which is what gives a fox its sharp expression. Leave a full eye's width between them.

   Attenzione Round eyes set level, which looks startled rather than alert.

   Controlla You should be able to fit one more eye between the two.

8. Passo 8

   Aggiungere il naso alla punta del muso e una linea di ritorno alla bocca.

   A small rounded triangle, and it points down. The line from the nose back along the muzzle is what separates the top of the snout from the jaw, and without it the muzzle reads as a solid wedge.

   Attenzione A large round nose, which pulls the drawing back toward a dog.

   Controlla The nose should be small relative to the muzzle.

9. Passo 9

   Disegna il corpo come un triangolo arrotondato sotto la testa.

   A sitting fox is essentially a wide-based triangle with the head on top. Overlap it with the head circle rather than butting them together - the overlap is what makes the head sit in front of the chest.

   Attenzione Placing the body directly under the head with no overlap, which reads as two stacked shapes.

   Controlla The body outline should pass behind the head.

10. Passo 10

    Disegna la coda come una lunga curva spessa, più larga di quanto ti aspetti.

    This is the shape most people undersize. A fox tail is about as long as the body and roughly a third as thick, and it curls round the base of the body rather than sticking out behind. Draw its outline as two curves, not one.

    Attenzione A thin tail, which loses the whole silhouette.

    Controlla The tail should be at least a third as thick as the body is wide.

11. Passo 11

    Segna il petto bianco e la punta della coda bianca.

    These are the two shapes that make a fox recognisable without colour. They are areas you leave alone, not areas you draw - deciding now where the paper stays white is what stops you shading over them in the next step.

    Attenzione Shading the whole fox evenly and then trying to erase the white back in.

    Controlla You should have two clearly reserved light shapes.

12. Passo 12

    Ombreggia le punte dell'orecchio, le gambe e la punta del muso più scura.

    A fox's dark points are its ear tips, its lower legs and the very tip of its muzzle. Get real contrast between those and the white chest - a fox in a narrow band of grey looks like a stuffed toy.

    Attenzione Being timid, so the darks and the whites end up only slightly different.

    Controlla The ear tips should be clearly the darkest part of the drawing.

13. Passo 13

    Aggiungere i pochi baffi e un suggerimento di pelliccia sul petto.

    Detail is suggested, never itemised. A handful of marks in the right places lets the eye fill in the rest, and drawing every one flattens the drawing into texture. Put them where they matter and stop early.

    Attenzione Adding detail evenly all over, which removes the contrast between busy areas and quiet ones.

    Controlla Step back. You should still read the big shape first, detail second.

14. Passo 14

    Passate oltre le linee che volete mantenere, e perdere le guide.

    This is the step that turns a construction drawing into a finished one, and it is the one most people skip. Press harder on the outline and the features; leave the small stuff light. That difference in weight is what makes a drawing look deliberate rather than traced, and it costs thirty seconds.

    Attenzione Going over everything at the same weight, which flattens the drawing back out.

    Controlla The outline should be clearly darker than the smallest details.