How to Draw a Raccoon
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Begin with the ribcage: one oval, filling most of the upper body.
The chest oval should take up around a third of the body's length on its own.
E tātuhi ana ki runga pepa?
Ka whakatūtū, ka whakamātauria e tātau te whakaahua mō koe. He ōrite tonu te tatau pepa.
Mo tēnei tātuhi
A raccoon is two costumes on one small bear: the bandit mask - a dark band across the eyes, wider than tall, edged with white above and below - and the ringed tail, four or five dark hoops on a fat brush. Both are counterchange patterns, and both have to wrap the form they sit on.
Underneath, this is the same two-ovals-and-a-spine build as every other animal here; what changes is the ratio between the masses and the gap separating them.
He hipanga ki te hipanga
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Ka taea te whakahau 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.
Whakawhanake Drawing the chest small to leave room for everything else.
Whakamātautau The chest oval should take up around a third of the body's length on its own.
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Ka taea te whakahau 2
Add a second, smaller oval for the hips.
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.
Whakawhanake Butting the pelvis directly against the chest.
Whakamātautau You should see clear space between the two ovals.
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Ka taea te whakahau 3
Connect the masses with one continuous 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.
Whakawhanake Drawing the spine as separate flat segments.
Whakamātautau The curve should touch both masses without a corner.
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Ka taea te whakahau 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.
Whakawhanake Hanging the head above the body instead of in front of it.
Whakamātautau The neck guide should leave the FRONT half of the chest oval.
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Ka taea te whakahau 5
Turn the neck guide into a real form 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.
Whakawhanake A thin stick neck, which makes any animal look fragile.
Whakamātautau The neck should be nearly as thick as the head is tall.
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Ka taea te whakahau 6
Close the body: one line over the back, one under the belly.
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.
Whakawhanake Ignoring the spine curve you drew and inventing a new back.
Whakamātautau The topline should agree with the spine curve underneath it.
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Ka taea te whakahau 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.
Whakawhanake A straight line between the ovals, which reads as a table.
Whakamātautau The belly should dip below both mass bottoms at its middle.
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Ka taea te whakahau 8
Seal the outline: one curve at the front, one at the rear.
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.
Whakawhanake Leaving the ends open because the ovals suggest them.
Whakamātautau You should be able to trace the whole body without lifting your pen.
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Ka taea te whakahau 9
Put in the forelegs - and remember they bend.
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.
Whakawhanake Straight tube legs with no joints, which read as furniture.
Whakamātautau Each front leg should bend at least once.
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Ka taea te whakahau 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.
Whakawhanake Back legs bending the same way as the front ones.
Whakamātautau Front and back feet should reach the same ground line.
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Ka taea te whakahau 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.
Whakawhanake Planting the ears on top of the head like handles.
Whakamātautau Both ears should attach behind the midpoint of the skull.
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Ka taea te whakahau 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.
Whakawhanake A muzzle pointing down instead of forward.
Whakamātautau The eye should sit in the top half of the head mass.
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Ka taea te whakahau 13
Add the tail and anything else specific to a raccoon.
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.
Whakawhanake Covering the body evenly in fur marks.
Whakamātautau Step back: the big shapes should still read first.
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Ka taea te whakahau 14
Construct the eye instead of dotting it.
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.
Whakawhanake A single black dot, which reads as a bead.
Whakamātautau The highlight should sit at the pupil's edge, not inside it.
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Ka taea te whakahau 15
Give every leg a foot: a base line and a toe split.
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.
Whakawhanake Legs ending in points, or feet at four different heights.
Whakamātautau All four feet should sit within one pencil-width of the same line.
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Ka taea te whakahau 16
Add ground and shadow so the raccoon stops floating.
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.
Whakawhanake Skipping it, leaving the animal hovering.
Whakamātautau The shadow should touch at least two of the feet.
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Ka taea te whakahau 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.
Whakawhanake Scalloping the entire outline evenly, which turns any animal into a sheep.
Whakamātautau Most of the outline should still be smooth between the tufts.
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Ka taea te whakahau 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.
Whakawhanake Scrubbing tone everywhere, which flattens the sketch it took fifteen steps to build.
Whakamātautau All the hatch strokes should lean the same direction.
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Ka taea te whakahau 19
Strengthen the lines that matter and clear the rest.
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.
Whakawhanake Going over every line at the same weight.
Whakamātautau The outline should be clearly darker than the interior marks.
He pēhea te āhua o te whakamutua
Ko te tātuhi ōrite me ia kaiārahi i whakakoretia, ā, ko ngā raina anake i hiahiatia e koe kia pupuri, i te taumahatanga i hiahiatia e koe kia pupuri. Mēnā kei roto tonu i ōna raina pū me ngā hanga ārai-i roto, ko tēnei te hipanga kāore i mahia e koe - ā, tata ki te toru tekau mā rua ngā taki.
Kāore e āhua nei a koe, ā, kāore e hiahiatia kia. Ko tēnei te hanganga me te whakawhāiti i te whakawhāiti, ehara i te tātuhi i hangaia e tētahi tangata hei whakamātautau - ko te take kia whakaaturia ki a koe he aha o o koe ngā raina kaiārahi.
Ko te mea e whakaako ana tēnei i a koe
The skill under the subject is comparison: each new part is judged against one already on the page, never against your idea of the animal. That habit is what fixes proportion everywhere.
The raccoon compounds the panda's placement lesson with the zebra's wrapping one: a mask that must sit at the right angle and rings that must curve. It is the pattern final of the small mammals.
Whakamātautau i ēnei: Line confidence Proportion Value range
Ko te mea e hiahiatia ana e koe
A pencil and any paper, or a finger on the canvas above - nothing here needs special equipment. Keep the construction light if you are on paper, because the guides come off at the end.
Mēnā he hē te haere
If the mask is wrong, it is too round: the band runs ACROSS both eyes cheek to cheek, wider than tall, with white edging above and below it.
If the tail rings flatten, they are straight: each ring curves around the tail's cylinder, exactly the barrel hoop rule at tail width.
If it reads as a cat, the posture is wrong: a raccoon humps its back and walks flat-footed, head low, front end lower than the hips.
Pānuitia nga hipanga
E tangohia ana i te mata. Ka tātuhia te pepa hipanga ki runga i tētahi pātaka.
Ko nga pātai e pā ana te tangata
- How do I draw a raccoon's mask?
- One dark band across both eyes, cheek to cheek, wider than tall, edged with white above and below. A round patch per eye reads as a black eye, not a bandit.
- How many rings on a raccoon's tail?
- Four or five, each curving around the tail's cylinder like a barrel hoop. Straight rings flatten the brush into a paper cutout.
- What posture does a raccoon have?
- Back humped, head low, walking flat-footed with the front end lower than the hips. It is the posture that separates it from a cat at any distance.
- How many steps does it take to draw a raccoon?
- Twelve here: two body masses, the spine, the head and neck, the silhouette, four legs in two pairs, then features, detail and line weight. About 12 minutes at a comfortable pace.
- Where do the legs attach on a raccoon?
- To the two masses, not the outline - front legs to the chest oval, back legs to the pelvis. Legs hung from the belly line are why animal drawings collapse.
- Can a beginner draw a raccoon?
- Yes - the construction is two ovals and a curve, and there is a finish-early step marked partway through that leaves you with a complete drawing rather than an abandoned one.
- Do I need to draw fur on a raccoon?
- Only at the silhouette edge, and only where the coat is genuinely long. Fur drawn all over turns any animal into a rug.
- What should I practise before drawing a raccoon?
- Five minutes of ellipses or line control. The whole build is ovals and committed curves, and warm hands make it a different exercise.