How to Draw a Tiger

Аткаруу

1. Аткаруу 1

   Block in the ribcage as one big oval.

   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.

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

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

2. Аткаруу 2

   Put in the hip mass - smaller than the chest on almost every animal.

   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.

   Эскертүү Butting the pelvis directly against the chest.

   Текшерүү You should see clear space between the two ovals.

3. Аткаруу 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.

   Эскертүү Drawing the spine as separate flat segments.

   Текшерүү The curve should touch both masses without a corner.

4. Аткаруу 4

   Put the skull in, and mark the line from chest to head.

   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.

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

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

5. Аткаруу 5

   Draw both sides of the neck.

   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.

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

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

6. Аткаруу 6

   Run the outline along the top and bottom of the tiger.

   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.

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

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

7. Аткаруу 7

   Draw the belly line underneath.

   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.

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

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

8. Аткаруу 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.

   Эскертүү Leaving the ends open because the ovals suggest them.

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

9. Аткаруу 9

   Add the front legs, joint by joint.

   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.

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

   Текшерүү Each front leg should bend at least once.

10. Аткаруу 10

    Add the rear legs, checking their length against the front.

    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.

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

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

11. Аткаруу 11

    Draw both ears, comparing the second to the first.

    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.

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

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

12. Аткаруу 12

    Add the muzzle and the face.

    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.

    Эскертүү A muzzle pointing down instead of forward.

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

13. Аткаруу 13

    Add the tail and the tiger markings.

    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.

    Эскертүү Covering the body evenly in fur marks.

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

14. Аткаруу 14

    Draw the eye in three layers, then 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.

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

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

15. Аткаруу 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.

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

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

16. Аткаруу 16

    Draw the ground line and the cast shadow.

    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.

    Эскертүү Skipping it, leaving the animal hovering.

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

17. Аткаруу 17

    Break the outline with fur, where the coat actually hangs.

    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.

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

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

18. Аткаруу 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.

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

    Текшерүү All the hatch strokes should lean the same direction.

19. Аткаруу 19

    Darken the outline and rub out the construction.

    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.

    Эскертүү Going over every line at the same weight.

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