Single-Line Contour Drawing of a Bear Head

Object Drawing Lessons

This lesson teaches a contour study of a bear head using a single unbroken line. You will trace the outer silhouette and key internal edges—ear, muzzle, and eye rim—without lifting your drawing tool. The goal is continuity and careful observation, not fur texture or shading. Work slowly, accept wobbles, and compare your line to the reference at checkpoints. All measurements are hypothetical examples; measure your own paper and pen.

Practice materials: Printable downloads are not available for this lesson yet. Use the instructions and four exercises below.

Set Up and Define Your Convention

Choose a drawing tool that makes a clear, consistent line, such as a pencil or fine-tip pen. Place a reference bear head contour in front of you. Define your single-line convention before starting: the line may cross itself, but it must not lift from the paper until the head outline is complete. Decide whether you will include the eye rim as an internal loop connected to the outer contour or as a separate pass that still touches the paper. Write your convention at the top of your page so your check is consistent.

Use a sheet large enough that the bear head occupies about half the page. A hypothetical example is a 15 cm wide head on a 30 cm wide sheet. Measure your actual paper and adjust. Keep the reference at eye level to reduce distortion.

1. Place the reference and paper side by side; measure the head width on your paper and note it.
2. Write your single-line convention: no lifting, crossings allowed, eye rim included or excluded.
3. Mark a starting point on the outer contour, such as the top of the head between the ears.

Trace the Outer Contour Slowly

Begin at the top of the head and move toward one ear. Follow the ear’s outer curve, then return along its inner edge if your convention includes it. Continue around the muzzle, under the chin, and up the opposite side. Keep your eye on the reference more than on your paper. If your line drifts, continue without lifting; the drift becomes part of the study.

Pause at three checkpoints: after the first ear, after the muzzle, and after returning to the starting area. At each checkpoint, compare the distance from the line to the page edge with the reference. Adjust your speed, not your tool.

1. Start at the top center and draw the first ear’s outer curve.
2. Continue around the muzzle and chin without lifting.
3. Return up the second side and close the outer contour near the start.

Add Ear, Muzzle, and Eye-Edge Continuity

If your convention includes internal edges, connect them to the outer line by retracing a short segment. For the eye rim, approach from the muzzle bridge, loop around the eye edge, and return along the same path or cross gently. The ear’s inner fold can be a small loop that rejoins the outer ear line. The muzzle line can run from the nose area to the mouth curve and back.

Continuity means the line never stops; it may overlap. Check that each internal edge connects to the outer contour at least once. If an edge floats free, your convention must state that internal edges are separate but still unbroken. Choose one rule and apply it consistently.

1. From the outer contour, enter the ear and loop the inner fold, then rejoin.
2. Draw the muzzle line from nose to mouth curve and back to the outer edge.
3. Loop the eye rim and reconnect to the muzzle bridge or outer contour.

Check and Refine Without Erasing

Use a checklist: ear outer curve present, ear inner fold connected, muzzle line connected, eye rim connected, outer contour closed, no lifted line. Compare your drawing to the reference by holding both at arm’s length. Note one strength and one area to repeat on a second attempt. Do not erase; a second drawing on a new sheet is the refinement.

Measure your line length with a string if useful: lay string along the line, then measure the string. A hypothetical example is 40 cm of line for a 15 cm head. Record your actual measurement.

1. Run the checklist and mark each item yes or no.
2. Hold the drawing at arm’s length and compare the overall silhouette.
3. Repeat on a fresh sheet, changing only one variable such as speed or starting point.

Worked example

A student starts at the top center, draws the left ear outer curve, loops the inner fold, returns to the top, crosses to the right ear, draws its outer curve, continues down the right side, around the muzzle and chin, up the left side, and loops the eye rim before closing near the start. The line never lifts. Check the convention and list one strength and one fix.

Four practice exercises

Common mistakes

• Lifting the pen to fix a wobbly ear. Continue from the wobble and treat it as part of the contour; the convention forbids lifting.
• Drawing the eye rim as a floating circle. Connect the eye rim to the muzzle bridge or outer contour with a short retraced segment.
• Rushing the muzzle curve and losing the chin line. Slow down at the muzzle and say the direction aloud: down, around, up.
• Comparing line length to an invented standard. Measure your own line with string and record it; label any example number as hypothetical.

Self-check rubric

• Single unbroken line from start to finish, with no lifting.
• Written convention states whether crossings and internal edges are allowed.
• Outer contour includes both ears, muzzle, chin, and returns near the start.
• Ear inner fold, muzzle line, and eye rim each connect to the outer contour or follow the stated separate-edge rule.
• Checklist completed with one strength and one area to repeat.
• Valid alternatives accepted: different starting points, crossing patterns, and internal-edge choices are allowed if the convention is consistent.

Questions and answers