Learn How to Draw Animated Characters Today

Understanding the Basics of Animated Character Drawing

Animated characters are drawings that move through a series of images shown in quick succession. Unlike static artwork, animation relies on a principle called "persistence of vision," where your brain perceives multiple still images as continuous motion when they play at the right speed. Learning to draw animated characters begins with understanding that animation is built on fundamental drawing skills combined with an understanding of movement and timing.

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The foundation of character animation starts with basic shapes. Professional animators often begin by breaking down character forms into circles, rectangles, and triangles. This approach, called "construction drawing," allows you to understand proportions and structure before adding details. A character's head might start as a circle, the torso as a rectangle, and the limbs as cylinders or lines. This method became popular through early Disney animation and remains a standard teaching technique in animation schools worldwide.

When drawing animated characters, you'll work with what's called a "model sheet." This is a reference document that shows your character from multiple angles—front, side, three-quarter view—and in various expressions or poses. Professional studios create detailed model sheets before production begins. These sheets ensure consistency: if a character's eyes are positioned a certain way on frame 1, they should match that positioning on frame 50. Without this consistency, characters appear to change shape or size as the animation progresses.

The basic materials you need are relatively simple: pencils (typically 2B or softer for sketching), erasers, paper, and a light box or tablet for tracing. Many animators use digital tools today, but traditional pencil-and-paper drawing teaches fundamental skills that transfer directly to digital work. Understanding how to hold a pencil, control pressure, and create flowing lines is essential whether working traditionally or digitally.

Practical Takeaway: Start by practicing basic shapes and proportions. Draw circles, rectangles, and cylinders repeatedly until you can create them smoothly and consistently. Then practice constructing simple character heads using circles and guide lines. Spend at least 15 minutes daily on these fundamentals before moving to more complex character work.

Learning Proportions and Structure for Character Design

Character proportions vary depending on the style of animation you're creating. Disney-style characters typically have different proportions than anime characters, which differ from comic book styles. Understanding these differences helps you choose a style and maintain consistency within that style. Proportion refers to the relationship between different parts of a character—how wide the head is compared to the body, or how long the arms are relative to the legs.

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A common starting point for human character proportions is the "eight heads tall" measurement. This means if you measure a character's head height, an adult human body is approximately eight head-lengths tall. The head takes up roughly one-eighth of the total height. Children's proportions are different—a child might be six heads tall, with a larger head relative to body size. This is why cartoon children often have bigger heads and smaller bodies than adults, making them instantly recognizable as younger characters.

Beyond simple height measurements, you'll need to understand skeletal structure and how joints bend. The human skeleton has specific points where movement occurs: shoulders, elbows, wrists, hips, knees, and ankles. When drawing characters in different poses, these joint positions determine whether the pose looks natural or awkward. For example, an elbow cannot bend backward—it only bends forward. Understanding these limitations helps you draw characters in believable positions.

Different animation styles use different proportions intentionally. In "cartoon exaggeration," characters might have impossibly long limbs or huge eyes. Anime characters often have very large eyes relative to head size. Realistic animation aims for anatomically correct proportions. The style you choose affects every proportion decision you make. Many beginners benefit from selecting one style to focus on initially rather than trying to master multiple approaches simultaneously.

Action lines are invisible centerlines through the body that help convey pose and movement direction. When you draw a character in motion, an action line typically runs from the head through the spine to the feet. This line shows which direction the character is moving or leaning. S-curves in the action line create dynamic, interesting poses, while straight action lines can make poses feel stiff or unnatural. This simple tool significantly improves the energy and readability of your character drawings.

Practical Takeaway: Create a proportion guide for your chosen character style. Draw a character's head, then measure it with your pencil or ruler and use that measurement to mark where the mid-chest, waist, knees, and feet should be. Do this ten times with different characters. This repetition trains your eye to recognize correct proportions automatically.

Mastering Movement and Key Frame Concepts

Animation works through the concept of "key frames." A key frame is a drawing that represents a significant point in a character's movement—like the highest point of a jump or the moment a character's fist connects with something. Between key frames are "in-between" drawings that show the transitional movements. This is called "in-betweening" or "tweening." In professional animation, senior animators draw the key frames, while junior animators or assistants create the in-between drawings.

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Understanding the "12 principles of animation" is fundamental to creating believable character movement. These principles, developed by Disney animators and documented in their 1981 book "The Illusion of Life," include concepts like squash and stretch, anticipation, staging, and timing. Squash and stretch makes characters feel flexible and alive—when a character lands from a jump, they compress slightly (squash), then expand back (stretch). Anticipation means showing a character preparing for an action before it happens, like bending knees before jumping.

Timing and spacing determine how fast a movement occurs. If you place key frames further apart in your sequence, the movement appears faster. Key frames placed closer together make movement appear slower. The number of in-between drawings you create between key frames also affects speed. If you have one frame between key frames, the motion will be jerky. With multiple frames between key frames, motion becomes smoother. A typical frame rate for animation is 24 frames per second, though some animators work at 12 frames per second for stylized movement.

Arcs are important in animation. Nearly all natural movement follows a curved path rather than a straight line. When a person's arm swings, it follows an arc. When a character's head turns, it follows an arc. Animators plan arcs by drawing curved lines through key poses. Following these arcs makes movement feel natural and organic. Straight-line movement typically looks mechanical or unnatural, which is sometimes useful when animating robots or other artificial characters.

Overlapping action occurs when different parts of a character finish moving at different times. If a character turns their head, the head reaches its final position before the hair or loose clothing settles. This layering of finishing times makes animation feel less rigid. Without overlapping action, every part of a character seems to move and stop simultaneously, which looks unnatural.

Practical Takeaway: Create a simple walk cycle with eight to twelve key frames. Start by drawing a character with one leg extended forward and one leg back. Draw the next key frame with the legs reversed. Add a few more key frames showing the progression of the walk. Then add in-between frames between each key frame. Test your walk cycle by flipping through the pages quickly—this is called "flipping." Good timing makes the walk feel natural.

Using Reference Materials and Building Your Drawing Library

Professional animators rely heavily on reference materials. These might include photographs, video recordings, live models, or other artists' work. Using references does not mean copying—it means studying real movement and applying those observations to your drawings. If you're animating a character running, watching video of actual running teaches you how feet strike the ground, how arms swing, and how the body shifts weight. This knowledge helps you create more convincing animations.

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Video reference is particularly valuable for animation. Recording yourself performing movements, then playing the video back frame-by-frame, gives you detailed information about motion timing. Many animators film themselves acting out scenes before drawing them. This practice, sometimes called "rotoscoping," helps ensure accuracy. Modern digital tools allow you to import video into drawing software to trace over the reference material.

Building a personal reference library takes time and intentionality. Collect photos of faces from different angles, body poses in various positions, animals in motion, and clothing that moves in specific ways. Digital artists benefit from having digital reference folders organized by subject. Traditional artists might maintain physical scrapbooks or printed photo collections. Pinterest, animation reference websites,