How to Draw a Rose Step by Step

Before I draw a single petal, I rough in the shape of the whole rose. I ask myself: am I drawing it from the side, above, or some three-quarter view? Most of the time, roses from above look like a shallow bowl. From the side, they’re more oval or egg-shaped.

I lightly sketch that main form with a big, broad motion. It’s more like gesture drawing—quick and energetic—than precise linework. Sometimes I even draw a few possible positions before choosing one to commit to. If I want to include leaves or a stem, I block those in here too. This step helps me place everything and keeps the composition loose.

Roses aren’t flat—they spiral outward from the center. So the next thing I do is draw a light spiral inside that basic shape. Not a tight coil—just a guide to remind myself how the petals naturally radiate outward. I find this spiral helps me keep the rhythm of the rose.

Then I start sketching the inner petals. I think of them like curled ribbons. I don’t draw each petal perfectly—I just suggest them with curved lines that follow the spiral. Sometimes I let the lines break or overlap. I’ve learned not to stress if it doesn’t look right immediately—it’s all about building gradually.

Now I work outward. I add more petals, layering them around the center. I’m not trying to replicate a rose exactly—I’m trying to suggest its structure. Some petals overlap, some bend back, and some are slightly torn or asymmetrical. I let my hand move freely here.

Usually, I draw about 5–10 outer petals, depending on how full I want the bloom to look. The outer petals are often looser, larger, and more irregular. I try to keep them slightly varied in size and angle to avoid making things look stiff.

Once I’ve got the flower itself, I like to anchor it with a stem and leaves. Rose leaves tend to be narrow and pointed, with little teeth along the edges. I draw 3–5 around the base of the rose, sometimes overlapping, sometimes not.

The stem is usually a single line at first. If I want to make it more defined, I thicken parts of it and add a few texture lines. I also like drawing the sepals—the green parts that stick out from behind the petals. They’re usually thin and angled.

If you want more help with foliage, my tutorial on how to draw leaf vines step by step is a good companion to this.

Now I let the sketch come alive. I go over some of my favorite lines and deepen them. I don’t trace everything—just the parts that feel essential. I’ll darken an edge here, add a few scribbly shadows there. Sometimes I crosshatch the center or shade beneath overlapping petals.

This is where I let go of perfection. I might even scribble in places. The goal isn’t to make it clean—it’s to make it feel like a rose. Loose, tangled, beautiful. If a line looks weird, I’ll draw another right next to it. That energy adds character.

For more examples of this kind of linework, take a look at how to draw a cherry blossom step by step or how to draw a peony step by step.

If you want to get better at drawing roses—or anything, really—I recommend sketching them from all kinds of angles. Sometimes I’ll do a whole page of tiny rose studies: one from above, one from the side, one half-open, one really droopy.

I don’t try to finish each one. I just focus on observing. Drawing this way taught me more than any reference photo ever did.

And if you want to branch out, sketching other flowers helps too. Try sunflowers, lotuses, or calla lilies. Each one gives you new shapes and challenges.