When I sit down to draw fish, I don’t follow a step-by-step formula or try to break the animal into basic geometric shapes.
Instead, I look closely at real references – either a photo I’ve taken while snorkeling or a still frame from a documentary – and focus on what I actually see.
I start by loosely blocking in the major shapes I notice from the form or the light and shadow, and I work my way toward the smaller details.
I like drawing fish because they’re strange and beautiful. Their bodies are fluid and streamlined, with fins that twist and taper in expressive ways. They give you a chance to play with movement, negative space, and subtle changes in tone or texture. Even when I’m sketching quickly in pen, I try to capture a sense of their unique rhythm. Some fish have such minimal or exaggerated features that they feel almost abstract. I let that looseness guide how I approach them, not constrain it.
If you’re looking to draw fish in a way that feels more alive and personal (and less robotic or cartoony), this post will walk you through my own process. You don’t need to be perfect. You just need to slow down, observe, and be willing to let your lines explore the form. It’s more about seeing than replicating.
Key Points
- Start with the large visual shapes, not outlines or formulas.
- Use real-life references and let your drawing be a response to what you see.
- Keep your lines loose and expressive to capture the fluidity of a fish’s form.
How I Approach Observational Drawing When I Draw Fish
Before I even touch the page, I spend a minute or two just studying the reference. I’m not trying to memorize it, just absorb it. I’m looking for the biggest areas of light and shadow, the gesture of the body, and any unusual features like long whiskers or spiny fins. I also try to notice how the different parts of the fish relate to each other—where the dorsal fin sits in relation to the eye, how far back the tail begins, or how the mouth is angled.
I try to avoid drawing outlines first. Instead, I sketch in the broad shapes I see — maybe the belly has a crescent of shadow, or the top of the fish has a bright highlight that gives it a sense of volume. I work with those big impressions before moving into any detail.
When I do add detail, I let it emerge slowly. I might suggest the texture of the scales with just a few overlapping marks rather than trying to draw every single one.
Fins are often delicate and semi-transparent, so I keep the linework light and flowing. I tend to describe the structure of the fin with a few sweeping lines that follow its shape, almost like drawing a loose leaf.
If you're new to drawing animals in general, you might find it helpful to start with something more grounded. I have a whole section on how to draw animals from observation here: draw animals.
Choosing References That Help You See Shape and Form
Not all fish photos are helpful when you're trying to draw. Some are too flat or overly edited. I look for references that show real light, shadow, and shape. Underwater lighting can be tricky, but I try to find photos with some sense of volume.
Aquarium photos can be helpful too, especially if you can capture the fish in profile. If I’m sketching from a video, I pause when the fish is in motion and has a strong gesture, even if it’s blurry. That movement often gives me more to work with than a stiff, posed shot.
Try starting with one fish that has a clear shape. Something like an angelfish or a parrotfish has enough detail to be interesting but not so much that you get overwhelmed. Their silhouettes are also strong, which makes it easier to recognize when you’ve captured the form well.
It’s also helpful to study a few different angles of the same fish. If you can find multiple views—front, side, slightly turned—you’ll start to understand the form better and make stronger choices in your drawing.
Drawing Techniques That Work Well With Fish
I usually use a ballpoint pen or a soft pencil for these sketches. Ballpoint is great because it encourages fluid lines and keeps me from overworking. A soft pencil (like a 4B) lets me play with tonal shading, which is useful when I’m trying to show the volume of the body. I try not to erase much, if at all. Keeping the marks visible lets me stay connected to the process and track how the drawing is evolving.
Use Gesture to Find the Flow
A fish's body often follows an S-curve or a long arc, especially when it's swimming. I like to start with a single loose line that captures that gesture. This helps set the rhythm of the whole drawing. I think of this as a spine or energy line for the drawing. Everything else—the body shape, the fins, the weight of the form—gets built around that.
If the fish is turning or twisting, don’t be afraid to exaggerate that a little in your gesture. That sense of movement will make the drawing more dynamic, even if it's technically a bit off.
Add Tonal Blocks Before Details
Once I’ve got the gesture, I lay in a few tonal areas to suggest form. Think about where the light hits the fish and where it falls into shadow. This gives the drawing structure and makes the details feel like they belong. I usually squint at the reference to blur out the detail and focus just on where the darkest and lightest areas are.
Try to think in shapes, not just values. For example, instead of shading generally, ask yourself: what shape is this shadow making on the body? Is it a soft gradient or a sharp transition? That level of attention really helps bring depth to your sketch.
Suggest, Don’t Outline
Fish have soft edges in water, and outlines can sometimes stiffen the drawing. I try to suggest edges with tone or broken line rather than drawing a hard contour all the way around. You can hint at the edge of a fin by darkening the area behind it or lightly shading the water around the tail. I often break up my lines where the form turns away from the light, which helps the drawing feel less boxed-in.
What To Avoid When Drawing Fish
There are a few habits that can make your fish drawings feel stiff or overly generic:
- Don’t start with a cartoon outline. That usually flattens the form and erases all the nuance.
- Avoid trying to draw every single scale. Instead, suggest texture with a few overlapping marks or patterns.
- Don’t copy someone else’s drawing of a fish. It’s tempting, but it teaches you to mimic someone else’s style instead of seeing for yourself.
Also, avoid overworking. If a drawing starts to feel tight, try switching tools or starting a fresh sketch on the next page. Sometimes your second or third attempt will be much looser because you’re not as precious about it.
Letting Go of Perfection
Drawing fish is a good reminder that you don’t need to get every detail right. What matters is capturing the feeling of the animal — its shape, its movement, its strangeness. I’ve made a lot of messy, awkward sketches of fish, but even those taught me something. Usually, they help me see what I missed or overthought.
The more you draw, the more you start noticing patterns. You’ll get better at seeing the fin placement, the way the eyes are set, or how the body curves depending on the species. But that comes naturally with time. Start by observing, stay loose, and trust your eye.
One trick I use when I get stuck is to do a quick one-minute sketch with no expectations. Just a fast impression. That speed forces me to prioritize what matters and ignore perfection. Then I can slow down and draw it again with more clarity.