How to Draw Realistic Trees Step by Step

When I draw a tree, I begin with its posture. Every tree has a kind of personality in the way it grows—some are bold and straight, others twist with age or bend toward the light. I usually start by looking at the tree’s overall silhouette and gesture, and then I lightly sketch a line down the center to show how it flows. That center line acts like the spine of the tree.

Next, I draw two loose lines on either side of that center to suggest the width of the trunk. I don’t worry about perfection here—I’m just trying to catch the spirit of the tree’s movement. If I’m working from a reference photo or drawing on location in a sketchbook, I squint at the tree first to simplify what I see into just a few directional lines.

Once I’ve got the trunk down, I sketch the primary branches. I think about how they stretch and split. Some trees have branches that grow upward in a tight V shape, while others spread wide like open arms. I try to create a rhythm by mixing longer, thinner branches with shorter, thicker ones. Trees look more natural when you avoid symmetry.

One trick I use is to imagine the branch structure as a series of forks or angles—kind of like drawing antlers. I keep my lines sketchy and light at this stage, often drawing through the forms to get a better sense of space and direction. This is one of the most fun parts for me—it feels like dancing across the page.

Instead of drawing every leaf (which I used to do, and it drove me nuts), I now think about the masses that the leaves form. I squint again at the reference to blur the fine details and block out the big shapes. Often, I imagine each leafy section as a cloud or puff of smoke.

I draw these masses using loose, overlapping shapes—sometimes circular scribbles, sometimes jagged or fluffy outlines. The technique depends on the type of tree I’m sketching. A pine tree will have different patterns than a maple, for example. I’ll even use light zig-zags or rough hatching to add a little texture to the leafy areas. It’s all about capturing the energy of the foliage, not getting caught in the weeds.

At this point, I’ve got the bones and basic masses in place. Now I go back to the trunk and branches and start building them up with more defined lines. I usually add bark by drawing short, broken vertical strokes—sometimes I curve them slightly around the trunk to suggest volume.
If the light is coming from one side, I’ll shade the opposite side with quick diagonal lines or light hatching. I also add little notches or irregular lines where branches meet the trunk, since that area tends to have more visual weight.

I try not to get too precious with this step. The texture should support the drawing, not overwhelm it. A few well-placed lines can suggest a lot.

Finally, I bring it all together by adding a bit more contrast and making sure the tree doesn’t look like it’s floating. I darken the shadow side of the trunk a bit more and add some heavier lines where the tree needs visual grounding—often where the trunk meets the earth or where foliage overlaps branches.

Then I sketch a quick shadow or some grass at the base. If I’m drawing in a nature journal, I’ll add a little context—maybe the location, time of day, or a quick note about the tree. This is one of my favorite things about nature journaling. It’s not just about making art, it’s about noticing things more deeply.