How to Draw a Pig Step by Step

Start with the biggest shape: the body. I think of it as a lumpy oval or potato shape. Let it tilt slightly if the pig is standing or lying down. You don’t need to be exact—this is just a mass to build from.

Use your arm to draw the shape, not just your wrist. This helps keep it loose and dynamic. I often draw the shape three or four times in light, overlapping lines before I settle on one that feels right.

If you want to exaggerate the personality of the pig, go for it—make the oval really fat or squashed. Drawing isn’t about copying perfectly, it’s about interpreting what you see or imagine. This idea comes up a lot in my expressive drawing practice.

Next, sketch a smaller circle or rounded rectangle in front of the body for the pig’s head. I tend to draw the head slightly overlapping the body shape, like it’s tucked in a bit.

Use a light line to connect the head and body—just a simple curve on top and bottom for the neck. Don’t worry about making it anatomically correct. What matters is that the connection feels believable and soft.

If you're drawing a pig in 3/4 view, angle the head just a bit so you can see both eyes. This adds depth and makes the drawing more interesting than a flat side view.

Now it’s time for features. Start with the ears—they’re often triangle-shaped but with soft, floppy edges. I sketch them slightly tilted, like they’re reacting to something. Pigs have expressive ears, so have fun with their positioning.

For the snout, draw a rounded cylinder shape that sticks out from the center of the face. I usually add a soft “muzzle line” where the snout meets the face. Then I place the nostrils as two oval or circular shapes inside the snout. You can shade these lightly to give them some depth.

The eyes are small, especially in real pigs. But in sketches, you can stylize them. Try placing them high and to the side of the snout, just under the ears. A tiny dot with a bit of shading or a small almond shape works fine.

Keep the lines light. At this point, you’re still building the drawing, not finishing it. Try drawing the features multiple times if needed, and go with the ones that feel most natural.

For the legs, think of short, stocky cylinders. Start by placing the front legs under the chest area—just two slightly curved lines going down and ending in a squared-off hoof shape. Then draw the back legs a little farther back. The back legs might be bent or extended depending on your pig’s pose.

Use overlapping lines to sketch the general leg shapes, and try to give them a slight bend at the joints. This will make the pose feel more natural. Legs that are too straight can make the pig look stiff.

Pigs don’t have sharp hooves like deer—they’re cloven and chunky. I suggest drawing the hooves as soft “V” shapes or two-toed triangles.

And of course, don’t forget the tail. A pig’s tail can be a simple spiral, a soft curve, or even just a small flick. You can exaggerate the curl for personality or keep it subtle.

Now that the main parts are in place, it’s time to unify the drawing. Look at how each part connects—does the head feel like it’s truly sitting on the body? Are the legs planted, or floating?

Add overlapping lines where needed. This gives the pig more believability. For example, sketch a bit of the front leg behind the back leg. Indicate some of the belly overlapping the tops of the legs. Use light shading to suggest which parts are in front.

I also add directional lines to suggest volume. One or two curved lines along the body can help show the roundness. Think of these like topographical lines—they follow the form and give it weight.

Start squinting at your drawing and figure out where the main shadows would be. Under the belly, behind the ears, below the head, and under the snout are good starting points.

Use short, confident strokes to shade. I often go for hatching or scribbled marks to keep things lively. If you're not sure where to shade, pick a light source direction (top-left, top-right, etc.) and be consistent.

Texture is up to you. Some pigs have bristly hair or subtle wrinkles. You can suggest these with light, repetitive lines or a few scattered marks.

If you want more guidance on creating texture with energy, I go into that in detail in mark making and materiality in art.