How to Draw a Fox

Gawo ndi Gawo

1. Gawo 1

   Block mu gulu lalikulu la Fox m'mutu.

   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.

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

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

2. Gawo 2

   Kuwonjezera awiri katikati mfundo, mofulumira.

   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.

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

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

3. Gawo 3

   Draw the muzzle as a long narrow wedge.

   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.

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

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

4. Gawo 4

   Zithunzi zachibadwa zachibadwa: chigawo choyamba cha nkhope, chokhala ndi nkhope yoyamba.

   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.

   Onani Making the ears too small and too upright.

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

5. Gawo 5

   Draw m'mbuyomu nkhope kuti agwirizane ndi yoyamba.

   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.

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

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

6. Gawo 6

   Ikani m'mimba mwake ngati triangle wazing'ono m'mimba mwake.

   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.

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

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

7. Gawo 7

   Poyamba, gwiritsani ntchito maganizo anu pa liwiro lozungulira.

   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.

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

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

8. Gawo 8

   Ikani m'mimba pa m'mphepete mwa m'mimba ndi mzere wopita ku m'mimba.

   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.

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

   Chezani The nose should be small relative to the muzzle.

9. Gawo 9

   Draw the body as a rounded triangle below the head.

   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.

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

   Chezani The body outline should pass behind the head.

10. Gawo 10

    Sankhani m'mbali ngati m'mbali yaitali yolimba, yokulirapo kuposa momwe mumayembekezera.

    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.

    Onani A thin tail, which loses the whole silhouette.

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

11. Gawo 11

    Mark white chest ndi white tail tip.

    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.

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

    Chezani You should have two clearly reserved light shapes.

12. Gawo 12

    Kuwala kwa maziko a nkhope, miyendo ndi mutu wa m'mimba.

    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.

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

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

13. Gawo 13

    Ikani ma whiskers ochepa ndi mfundo ya khungu pa chifuwa.

    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.

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

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

14. Gawo 14

    Pitani pa zigawo zimene mukufuna kuti muzisunga, ndipo mudzataya ma guidelines.

    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.

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

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