How to Draw a Hippo

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1. _Daşarky 1

   Begin with the ribcage: one oval, filling most of the upper body.

   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.

   Gözleg Drawing the chest small to leave room for everything else.

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

2. _Daşarky 2

   Draw the hindquarters as their own oval.

   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.

   Gözleg Butting the pelvis directly against the chest.

   Barla You should see clear space between the two ovals.

3. _Daşarky 3

   Run one curve through both masses for the spine.

   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.

   Gözleg Drawing the spine as separate flat segments.

   Barla The curve should touch both masses without a corner.

4. _Daşarky 4

   Place the head mass and rough in where the neck goes.

   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.

   Gözleg Hanging the head above the body instead of in front of it.

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

5. _Daşarky 5

   Draw the neck as a solid, not a stick.

   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.

   Gözleg A thin stick neck, which makes any animal look fragile.

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

6. _Daşarky 6

   Join chest to hips with a topline and a belly line.

   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.

   Gözleg Ignoring the spine curve you drew and inventing a new back.

   Barla The topline should agree with the spine curve underneath it.

7. _Daşarky 7

   Run the belly from chest to hips.

   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.

   Gözleg A straight line between the ovals, which reads as a table.

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

8. _Daşarky 8

   Draw the chest front down, and the rump around.

   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.

   Gözleg Leaving the ends open because the ovals suggest them.

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

9. _Daşarky 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.

   Gözleg Straight tube legs with no joints, which read as furniture.

   Barla Each front leg should bend at least once.

10. _Daşarky 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.

    Gözleg Back legs bending the same way as the front ones.

    Barla Front and back feet should reach the same ground line.

11. _Daşarky 11

    Draw the ears - this is a big part of what makes it a hippo.

    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.

    Gözleg Planting the ears on top of the head like handles.

    Barla Both ears should attach behind the midpoint of the skull.

12. _Daşarky 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.

    Gözleg A muzzle pointing down instead of forward.

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

13. _Daşarky 13

    Draw the tail and any remaining features.

    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.

    Gözleg Covering the body evenly in fur marks.

    Barla Step back: the big shapes should still read first.

14. _Daşarky 14

    Build the eye: iris, pupil, one highlight, and the brow.

    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.

    Gözleg A single black dot, which reads as a bead.

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

15. _Daşarky 15

    Add the feet - one line and one split per 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.

    Gözleg Legs ending in points, or feet at four different heights.

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

16. _Daşarky 16

    Put the ground in and shade 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.

    Gözleg Skipping it, leaving the animal hovering.

    Barla The shadow should touch at least two of the feet.

17. _Daşarky 17

    Break the clean outline with tufts of coat.

    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.

    Gözleg Scalloping the entire outline evenly, which turns any animal into a sheep.

    Barla Most of the outline should still be smooth between the tufts.

18. _Daşarky 18

    Shade under the belly and along the far side.

    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.

    Gözleg Scrubbing tone everywhere, which flattens the sketch it took fifteen steps to build.

    Barla All the hatch strokes should lean the same direction.

19. _Daşarky 19

    Go round the keepers heavily, then erase 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.

    Gözleg Going over every line at the same weight.

    Barla The outline should be clearly darker than the interior marks.