How to Draw a T-Rex Step by Step

Before I draw anything, I spend time just looking. Whether it's a photo of a skeleton, a toy model, or even a movie still, I take in the overall pose first. I’m trying to understand how the T-Rex is holding itself. That iconic forward-lean, the huge legs, and the long tail that balances all that weight—it’s all about posture.

I sometimes trace the silhouette with my finger in the air to get a feel for the flow. That’s a quick trick that helps me connect physically with the gesture of the pose. I pay close attention to the relationship between the legs and the tail. If the tail feels off, the whole drawing can feel stiff.

Now I start drawing, and I keep it really loose. I use an oval for the torso, angled forward, and then sketch a tapered triangle that sweeps back for the tail. For the head, I use a rounded square or triangle, depending on the angle. Everything is just scaffolding at this stage.

The legs get thick columns with bends for the knees, and I block in the arms as stubby L-shapes under the chest. It looks ridiculous at first, but that’s okay. This is where I figure out the pose and proportions. If something feels off, I just draw over it instead of erasing. Layers of lines give the drawing movement and energy.

I usually draw the spine as a long curved line running from the head down through the tail. That single line helps me unify the posture and make the whole dinosaur feel connected.

Once I’m happy with the basic pose, I start fleshing it out. I draw around the forms to give them thickness and volume. The torso isn’t just an oval now—it has mass. I think about the ribcage, the hips, and the big thigh muscles. I round out the legs, exaggerate the calves, and shape the feet into rough triangles with claw points.

I don’t get hung up on anatomical accuracy, but I do try to understand how the weight is distributed. T-Rex was all about balance—huge head, tiny arms, massive legs, and that tail as a counterweight. If I can suggest that balance, even loosely, the sketch feels solid.

At this stage, I also start to add in the curve of the belly, the dip behind the head, and little shapes that suggest joints and muscle. But I keep things light and fluid. I never want to tighten the drawing too soon.

This part is always my favorite. The T-Rex head is so iconic—big boxy skull, deep jaw, and sharp, uneven teeth. I start by firming up the head shape. I draw the top of the snout, then drop down into the jawline, adding a curve or angle to suggest that heavy bite.

Then I sketch the eye socket and place a small, beady eye inside. It’s amazing how much expression you can get with just a dot. For the mouth, I often leave it slightly open to show the teeth and give a bit of drama. I don’t draw every tooth—just a few bold, jagged lines to suggest rows of them.

The arms are quick—just little stick-like limbs with two claws on each. They’re awkward, and I love that. I don’t stress over them being too small or goofy. That’s part of the charm.

Now it’s time to finish things off. I darken the lines I like most, then start adding texture. I might add short curved dashes along the spine to hint at bumpy scales, or a few shadows under the belly and legs to anchor the body.

I almost always add a ground line—just a scribble of dirt or a rock to show the T-Rex isn’t floating. Sometimes I throw in a broken tree or another dinosaur in the background if I’m feeling ambitious, but even a simple horizon line can help.

I try to stop before I overwork it. A few sketchy lines can do more than a fully shaded, tightened drawing. I like to leave some of the original construction visible—it reminds me how the sketch came together.