Drawing Everything - Structural Drawing for Character Variety

One of the most frustrating challenges for aspiring artists is the sheer number of different things we need to learn to draw. Every project introduces new characters, new creatures, new objects, and it can feel like starting from scratch each time. Structural drawing offers a systematic approach to this problem. Rather than memorising how to draw every individual subject, we can learn a set of tools that allow us to break anything down, figure out how it works, and draw it consistently from different angles and in different situations. Using the Fox character from Pinocchio, this video walks through exactly how that process works in practice, applying the same Loomis-style mannequin approach used for human figures to an anthropomorphic character with completely different proportions.

The starting point for tackling any new character is finding the overall proportions, which can be thought of as the skeleton. The goal is to figure out where the anatomy and structure from the original design is located, where all the joints are. This is essentially a glorified stick figure. For the Fox, this means identifying the mass of the chest to position the character in space, then locating the rib cage and pelvis underneath, finding the limb joints. The proportional relationships between these elements are what make the character feel like themselves. How long is the snout relative to the head? Where do the ears sit? How long are the arms compared to the torso? This skeleton is deliberately similar to a standard Loomis mannequin because the whole point is to transfer existing knowledge of human anatomy to a new subject rather than learning everything from scratch.

Once the skeleton is established, the next step is figuring out the major primary forms that are part of the character's design. For the Fox, these include the torso mass, the head with its distinctive muzzle, and critically the tail, which functions as a major form because animals act with their tails and it creates natural overlapping shapes that add visual interest and compositional flow. The default posture carries built-in emotion. The Fox is always slightly hunched and hobbled because he is a grifter pretending to be an invalid. Understanding this gestural quality means every drawing of the character carries that personality. The tilt of the torso relative to the knees, the length of the limbs, the crouched but balanced stance are all part of the mannequin. Getting this structural foundation right means the character feels recognisable before any surface details are added.

Not every character in a project needs the same depth of design. Minor characters who appear for a page or two can often be winged based on a few sketches, relying on iconic elements like a distinctive hat or prop to sell the character. But recurring characters like the Fox need a deeper understanding because they appear in multiple situations and need to feel consistent. The design process for the Fox follows a clear sequence: skeleton first, then primary forms including the tail, then secondary forms like the major limbs and hands. Drawing through to find hidden structure, using ellipses and cross-contours to locate forms, then finally adding clothing on top. This sequential approach means the clothes flow naturally over the primary forms rather than being adjusted and erased constantly. The more this process is repeated, the more the structure becomes subconscious, and what remains is focusing on the character.