#angles/proportions study!!

[mintofhtagn]

[vanilla-extracter]

KIM KITSURAGI GOUACHE STUDY

[sixeyesonathiel]

a treatise on inconvenient attraction — teaser.

pairing — undercover prince satoru x servant reader

synopsis : satoru is many things: a crown prince in disguise, a so-called eunuch draped in silk and secrets, and entirely too clever for his own good. but when you appear in the middle of palace chaos—calm, competent, and wholly unimpressed—satoru finds himself watching a little too closely. you cure what the court physicians couldn’t, ask the wrong questions with the right kind of precision, and somehow manage to look like you belong everywhere and nowhere at once. he tells himself it’s curiosity. it’s duty. it’s absolutely not personal.

but then again, inconvenient things rarely are.

tags — oneshot, apothecary diaries au, fluff, humor, slow burn, sexual tension, secret identities, enemies to lovers, royal court politics, witty banter, eventual smut

a/n: dropping this 3.2k teaser before finals devours me like a cursed koi in a reflecting pond. i am but a humble court scribe flinging words into the wind before academia drags me kicking and screaming into its gilded dungeon. this week will be pain. this week will be suffering. this week will be caffeine, tears, and the haunting echo of “you should’ve started studying earlier.”

to my beloved bbs—my ride-or-dies, my imperial council of enablers—i will miss you terribly. i’ll crawl back next week, dehydrated but victorious. until then… read well, thirst responsibly. TAGLIST IS OPEN, COMMENT IF U WANT TO BE ADDED

a calamity of cosmic proportions had just befallen the imperial court—or so the wrenching sobs reverberating through the silk-draped pavilion would have you believe. 

a hairpin, delicate as a poet’s ego, had snapped clean in two, its jade heart fractured like the dreams of a dynasty on the wane. the air thrummed with tragedy, thick with the scent of jasmine oil and the faint, acrid tang of ink from a nearby scholar’s overturned pot, as if the universe itself had taken offense at the ornament’s demise.

at the pavilion’s heart, satoru held court like the star of an imperial opera, his presence a spectacle of calculated excess. 

“it is truly a heartbreak of craftsmanship,” he intoned, cradling the broken shard as if it were a soldier felled in a war only he had the imagination to mourn. the jade caught the morning light, refracting it into mournful glints that danced across the lacquered floor—enough sorrowful symbolism to inspire three ballads, a minor diplomatic incident, and at least one overwrought ode penned by a lovesick scribe. “this was no mere ornament, madam. this—this was a poem carved in bone and stone, an elegy to elegance itself.”

the concubine, lady mei, sniffled with the fervor of a stage heroine, her silk sleeves fluttering like moth wings as she dabbed her eyes with a handkerchief monogrammed in gold thread. each sob was a performance, perfectly pitched, as if she’d rehearsed it in front of a mirror. her powdered cheeks glistened with artfully placed tears, and the faintest smudge of kohl at her eyes suggested she’d mastered the art of crying without ruining her face.

satoru sighed, the sound heartfelt and entirely performative, a maestro playing to an audience of one. he tilted his head just so, pale hair spilling over his shoulder like moonlight cascading over porcelain, catching the light with a shimmer that felt choreographed.

a breeze curled through the open lattice, lifting the hem of his embroidered robes with such enviable timing it seemed less nature’s doing and more the work of a bribed servant sliding a screen open at precisely the right second. with satoru, either was plausible—nay, probable.

behind him loomed suguru, a study in austere black, hands clasped behind his back with the rigidity of a man bracing for chaos. his expression was carved from stone, all sharp angles and weary resignation, as if he’d been sculpted to endure satoru’s theatrics for eternity. his hair, tied with habitual neatness, let a few rogue strands graze his cheek, like even his appearance knew better than to fully relax in such company. 

his gaze skimmed the scene, heavy with the exhaustion of a man who’d watched this exact farce, with only slight variations in props, more times than the palace cats had stolen fish from the kitchens.

“perhaps,” satoru declared, raising the jade fragment aloft as if offering it to the heavens for judgment, “we must mourn it properly. a vigil, steeped in moonlight? a commemorative tea ceremony, with cups etched in sorrow?”

“a funeral pyre,” suguru muttered, voice dry as the desert beyond the red cliffs. “i’ll fetch the kindling. maybe some incense to mask the absurdity.”

satoru ignored him with the serene grace of a man who’d long since perfected the art of selective hearing, his eyes never leaving lady mei’s trembling form.

“fear not, my lady,” he vowed, dropping to one knee with the flourish of a knight swearing fealty in a tale spun by drunken bards. he clasped her hands, his fingers cool and deliberate, adorned with a single ring that glinted like a conspirator’s promise. “i shall find a replacement—more exquisite, more divine, more… unbreakable. yes, even if i must scour every silk merchant, every jade carver, every whispering bazaar between here and the red cliffs, where the winds themselves sing of lost treasures.”

he let the silence stretch, heavy with portent, as if the gods themselves were taking notes. lady mei gasped, her breath catching like a plucked zither string. a single tear traced her cheek, glistening like a dew-drop on a lotus petal—a prop so perfectly placed it deserved its own stanza.

mission accomplished. satoru’s lips twitched, the faintest ghost of a smirk, gone before anyone but the narrator could catch it.

behind them, suguru pinched the bridge of his nose with the slow, methodical frustration of a man who knew it would do nothing but give his fingers something to do. his sigh was a silent prayer to deities who’d clearly abandoned him long ago.

when the theatrics finally subsided—lady mei comforted, her handkerchief sodden, the jade fragments swaddled in silk like relics of a forgotten saint—satoru glided from the pavilion with the poise of a swan who knew exactly how devastatingly beautiful he looked mid-stride. he trailed perfume, a heady blend of sandalwood and smug self-satisfaction, curling behind him like incense smoke in a temple to his own ego.

suguru followed, a silent shadow with a scowl etched so deeply it might’ve been carved by a jade artisan. his boots clicked against the stone tiles, each step a muted protest against the absurdity he was forced to endure.

once they slipped beneath a carved archway into a quieter corridor, the performance peeled away like silk robes sliding over lacquered floors. satoru’s spine straightened, the exaggerated flourishes vanished, and he walked with the easy, unyielding grace of a man born to command palaces and bend power to his will. 

the air here was cooler, scented with wisteria and the faint, medicinal bite of herbs drying in a distant courtyard, their bitterness a sharp counterpoint to the corridor’s polished serenity.

“what?” satoru asked, eyes gleaming with faux innocence as he adjusted the sapphire-studded sash at his waist, the fabric whispering against his fingers. “i was being helpful.”

“you were being ridiculous,” suguru replied, his voice flat as the surface of a frozen lake, though a faint twitch at his jaw betrayed the effort it took to keep it that way.

“ridiculously helpful,” satoru corrected, flashing a grin that could outshine the emperor’s polished jade throne. he flicked open his fan with a snap, the painted silk catching the light like a peacock’s tail, waved it twice, then forgot it entirely, leaving it to dangle like an afterthought.

suguru shot him a sidelong glance, more sigh than stare, the kind of look that carried the weight of a thousand unspoken retorts. 

now that the mask had fallen, subtle details sharpened into focus: the glint of satoru’s ceremonial earrings, small but forged from gold so pure they whispered of plundered kingdoms; the way his sleeves, just a touch too long, brushed the corridor’s tiles with a soft, deliberate drag, like a painter’s final stroke; his hair, nearly waist-length, swaying like a silk banner unfurled for a procession, catching the latticed sunlight in a cascade of silver.

“a hairpin emergency,” suguru deadpanned, his voice slicing through the air like a blade through silk. “you skipped a logistics meeting—where, might i add, we were discussing grain shortages—for a hairpin emergency.”

“it was tragic. deeply symbolic. that hairpin was the fragility of desire itself, suguru,” satoru said, his tone lofty, as if lecturing a particularly dense pupil. he gestured with the fan, now remembered, its arc as grand as a courtier’s bow. “a metaphor for the fleeting nature of beauty, shattered in an instant.”

suguru glanced skyward, seeking divine intervention from a heavens that had long since stopped answering. 

the corridor stretched before them, vermilion pillars rising in regal procession, their surfaces carved with dragons that seemed to smirk at the absurdity below. sunlight filtered through the screens, painting latticed shadows that danced over the tiles like a secret script only the palace walls could read.

“and your grand plan to unravel the true nature of court politics,” suguru said, each word measured, “involves… hosting interpretive grief sessions for concubines over broken accessories?”

“the best disguises become second nature,” satoru replied, winking with the confidence of a man who’d never doubted himself a day in his life. “besides, would you rather i play the stuffy prince, droning on about grain quotas and tax ledgers?”

suguru didn’t respond, which, to satoru, was as good as a standing ovation.

they turned a corner, the air shifting as they passed a courtyard where a fountain burbled, its water catching the light like scattered pearls. a pair of palace cats, sleek as whispers, darted across their path, their eyes glinting with the smugness of creatures who answered to no one. 

a servant, her robes the muted gray of dawn, bowed deeply as they passed, her gaze fixed on the floor, though the faintest tremble in her hands suggested she’d heard the hairpin saga and was bracing for its inevitable sequel.

and beneath it all, beyond the red walls and silk screens, something stirred. not fate—not yet. but close, like the first ripple on a still pond, or the faintest creak of a palace gate left ajar. 

for now, there was only satoru, strutting like a peacock in the emperor’s garden, his voice lilting, his feathers flashing in the sunlight—and suguru, the poor bastard doomed to trail him, shoulders squared, expression grim, half a pace behind like the world’s most disapproving shadow, forever caught in the orbit of a star that burned too bright to ever dim.

the palace hummed with a frenetic buzz—not the charming, festival-lanterns-and-rice-wine kind, where moonlight glints off sake cups and laughter spills like cherry blossoms, but the swarming, fretful, everyone’s-talking-and-no-one’s-hearing kind that screamed someone important was either sick, scandalized, or both. 

lucky for the court, it was a two-for-one special: the emperor’s favored concubine, lady hua, had taken ill, and the whispers swirling through the vermilion halls were ripe with intrigue sharp enough to cut silk.

it began with fainting spells, delicate as a willow branch snapping under snow. then came the headaches, each one described with the reverence of a poet lamenting lost love.

by the time rumors slithered to satoru’s ears, the court physicians had added skin lesions to the list—delicate ones, naturally, because heaven forbid a woman of the inner court suffer anything less than poetic. “female temperament,” the physicians declared with the smugness of men who’d never questioned their own brilliance, waving it off as a trifle. “probably just the summer heat, thickened by her delicate constitution.”

maybe it was. maybe it wasn’t. but satoru was bored—a state as dangerous as a spark in a lacquered pavilion when paired with his curiosity and the kind of power that hid beneath shimmering silk like a blade in a jeweled sheath.

he sprawled across a divan like a cat claiming its throne, pale hair spilling over the brocade cushion in a cascade that caught the lantern light like spun silver. “i want to see her,” he said lazily, one hand dangling over the edge, fingers brushing the cool jade inlay of the table beside him.

the air carried the faint sweetness of osmanthus from a nearby brazier, undercut by the sharp bite of ink drying on a discarded scroll.

suguru didn’t look up from the scroll he was pretending to read, arms crossed over his dark robes like a disapproving older sibling teetering on the edge of committing murder by eye-roll alone. his hair, tied with a cord of black silk, gleamed faintly in the slanted light, as if even it resented being dragged into satoru’s orbit.

“the emperor hasn’t summoned you,” he said, voice flat, though the faintest twitch of his brow betrayed his dwindling patience.

“that’s the beauty of being a fake eunuch,” satoru replied, already rising with the fluid grace of a dancer who knew every eye was on him. his robes—silver threaded with blue embroidery, obnoxiously tasteful—shimmered like moonlight on a still pond, the hem brushing the polished floor with a whisper. “every door swings open if you smile just right and flash a bit of charm.”

suguru exhaled through his nose, a sound that carried the weight of a thousand unspoken curses. “your highness, court gossip is beneath your station.”

“nothing is beneath my station when i’m playing eunuch,” satoru chirped, swiping a rice cake from a lacquered tray as he sauntered toward the door. he popped it into his mouth, the sesame seeds crunching faintly, and shot suguru a grin that was equal parts mischief and menace. “in fact, it’s half the fun.”

and just like that, he was gone, robes flaring behind him like a comet’s tail, leaving a trail of sandalwood perfume and impending chaos. 

suguru muttered a curse under his breath—something about peacocks and their inevitable reckoning—and followed, because someone had to keep the idiot from plummeting headfirst into disaster.

what they found at lady hua’s quarters was chaos distilled into a single, suffocating room. maids scurried like ants fleeing a crushed nest, their silk slippers whispering frantically against the floor. 

physicians argued in hushed but venomous tones, their sleeves flapping like indignant birds, while someone—likely a junior attendant—sobbed into a brass basin, the sound muffled but piercing. the air reeked of camphor, sharp and medicinal, tangled with the cloying sweetness of sandalwood incense and the sour undercurrent of barely-contained hysteria. 

a breeze from an open screen carried the faint tang of lotus blossoms from the courtyard, but it did little to ease the oppressive weight of the room.

satoru leaned against the doorframe, one hand languidly fanning himself with a jade-inlaid fan, its painted silk fluttering like a butterfly’s wing. the other hand rested lightly on the fan’s hilt, fingers tracing the carved dragon as if it might whisper secrets.

he looked like a man at the theater, idly amused by a tragedy he had no stake in—and to be fair, he was. his eyes, sharp as a hawk’s beneath their lazy half-lids, scanned the room with the casual precision of someone who missed nothing.

then his gaze snagged on something—or rather, someone.

you.

in the heart of the maelstrom, you were an island of calm, steady and still as a stone in a raging river.

you weren’t dressed like a physician—no embroidered insignia, no silk badge pinned to your belt like the pompous healers squawking nearby. your robe was simple, utilitarian, the color of weathered slate, its sleeves pinned up past your elbows to reveal forearms smudged with the faint green of crushed herbs. 

you crouched beside lady hua, movements quick, efficient, precise, as if the chaos around you was merely background noise to be tuned out. the room bent around you, maids and physicians alike giving you a wide berth, like you were the eye of a storm they dared not cross.

satoru straightened, just a fraction, the motion so subtle it might’ve gone unnoticed by anyone but suguru. his fan slowed, the silk shivering in the pause.

“who’s that?” he murmured, voice low, the words curling like smoke as he tilted his head, pale hair slipping over his shoulder like a waterfall of moonlight.

suguru had already clocked you, his arms now crossed tighter over his chest, the dark fabric of his robes creasing under the pressure. his jaw tightened, a flicker of suspicion in his eyes. “not a court physician. not officially,” he said, each word clipped, as if he resented having to state the obvious.

“well,” satoru said, his lips curving into a smile that was equal parts intrigue and trouble, “now she’s interesting.”

you were wrapping lady hua’s wrist in linen soaked in something pungent—fangfeng root, if satoru’s nose didn’t betray him, mixed with the bitter bite of yanhusuo and a faint trace of ginseng. old-school herbs, the kind not dispensed in the palace’s pristine apothecary but ground by hand in shadowed apothecaries far from the emperor’s gaze. 

your fingers moved with the deftness of a musician, tying the linen with a knot so precise it could’ve shamed a sailor. beside you sat a worn wooden box, its corners scuffed from years of travel, but its contents were meticulously organized—vials labeled in a script too small to read from the door, tools gleaming faintly in the lantern light.

satoru’s eyes narrowed as he watched you work. your movements were too clean, too practiced, like someone who’d stitched wounds in the dark long before stepping into a palace. 

lady hua groaned softly, her face pale as the moon, and you pressed your fingers to her pulse, murmuring something under your breath. there was no softness in it, no coddling, just the calm precision of someone who knew exactly what they were doing—and didn’t care who saw.

and then—your eyes.

they flicked up, not to the patient, not to the bickering physicians, but to the room’s edges. to the guards in their lacquered armor, their spears glinting like threats in the corner. to the doors, half-open, where shadows shifted in the corridor. to the windows, where the lattice cast jagged shadows across the floor. 

your gaze moved like a soldier’s, mapping exits, calculating distances, noting every potential threat with a speed that was almost instinctual.

satoru felt a thrill crawl up his spine, sharp and electric, like the first crack of thunder before a storm.

“she flinched when the guards shifted,” he whispered, his fan now still, its silk drooping like a forgotten prop.

suguru’s expression didn’t change, but his eyes darkened, a storm cloud gathering behind them. “trauma?” he asked, voice low, testing the word like it might bite.

“training,” satoru replied, folding his fan with a slow, deliberate snap, the sound cutting through the room’s din like a blade. “she’s not afraid of chaos. she’s afraid of uniforms. of order that isn’t hers.”

he glanced at you again, and this time, you felt it. your shoulders stiffened, just for a heartbeat, as if you’d sensed a predator in the room. 

you didn’t look up, didn’t meet his eyes, but the way you angled your body—back to the wall, never cornered, one hand hovering near your box like it held more than herbs—told him everything. 

your kit was no mere healer’s tool; it was a survivor’s arsenal, scuffed and worn but as familiar to you as your own skin. the faint scar on your knuckle, barely visible, gleamed like a silent boast of battles won.

“is that why you’re smiling?” suguru asked, his voice bone-dry, cutting through satoru’s thoughts like a knife through silk.

satoru didn’t answer. not aloud. but oh, yes, he was smiling, lips curved like a crescent moon, because the emperor’s concubine might be fading, her breath shallow as a winter breeze.

but you?

you were alive—vibrantly, dangerously alive, a spark in a room full of smoke. your every movement screamed secrets, and your eyes held a story no one in this palace had the guts to read. 

lady hua’s illness might’ve been the court’s obsession, but you were something else entirely—a puzzle, a threat, a flame flickering just out of reach.

and satoru, with his boredom and his power and his peacock’s flair, had just found a problem worth solving. the air thrummed with it, heavy with the scent of camphor and intrigue, as the palace walls seemed to lean in, whispering of the chaos yet to come.

[melshifting]

SCIENTIFICALLY BACKED ATTRACTIVE TRAITS FOR YOUR DR ૮ . . ྀིა⁩°. ᵎᵎ

❝ Every feature, every proportion—you're like the perfect formula for beauty❞

꒰ᐢ. ̫ .ᐢ꒱ Whichever country or continent you go to, you are the beauty standard—science doesn't lie, your beauty is 100% perfect worldwide.

꒰ᐢ. ̫ .ᐢ꒱ Every time someone goes to a plastic surgeon with a photo of you as reference, the doctor sighs—it's impossible to recreate someone as perfect as you.

꒰ᐢ. ̫ .ᐢ꒱ Your symmetry is off-the-charts. Not only is your face proportioned perfectly, but your body is too—everything about you falls perfectly into what’s universally considered the most aesthetically pleasing proportions.

꒰ᐢ. ̫ .ᐢ꒱ Your smile naturally activates others' brain chemicals—it triggers dopamine and serotonin in people around you; it's naturally calibrated to make others feel better the moment you flash it.

꒰ᐢ. ̫ .ᐢ꒱ Your jawline is subtly defined at all angles—you have the perfect balance between softness and structure, making your face photogenic from every perspective.

꒰ᐢ. ̫ .ᐢ꒱ Your natural scent is calibrated to enhance attraction—your body produces a fragrance known to subconsciously draw people closer, without being cloying.

꒰ᐢ. ̫ .ᐢ꒱ Your nose bridge catches light like it was sculpted by a Renaissance artist—when light naturally hits your nose it gives it a subtly photogenic edge.

꒰ᐢ. ̫ .ᐢ꒱ A slightly fuller bottom lip? A natural cupid’s bow?—your lips have the kind of shape that makes people believe in symmetry.

꒰ᐢ. ̫ .ᐢ꒱ Your ears frame your face just right. They’re not too prominent, not too hidden—just enough to subtly enhance your side profile.

꒰ᐢ. ̫ .ᐢ꒱ Your body proportions make even bad posture look good—your proportions give you a naturally poised look, even when you’re slouching.

꒰ᐢ. ̫ .ᐢ꒱ Your skin has the kind of clarity that makes people assume you drink a gallon of water a day, with just the right amount of natural variation that makes it feel real but flawless.

꒰ᐢ. ̫ .ᐢ꒱ Your skin’s undertone is the perfect blend of warm and cool, allowing any color you wear to pop without overshadowing your natural glow.

꒰ᐢ. ̫ .ᐢ꒱ Even scientists have asked to study you—you are named in every scientific journal as ‘the perfect person’.

[albanenechi]

Do you mind sharing what method you use to break down anatomy for drawings? Like how you construct bodies?

Sorry for the super delayed answer 😭 i'll try to be brief!

I start by locating the ribcage, hips, and head's ellipses and their central axis. Then i draw the torso, connecting the hips with the ribcage, and do a rough sketch of how the chest and shoulders should look like.

Then I add the limbs using cylinder like volumes, specifically i do the legs first and then the arms (tip: I do figure drawing and studies every now and then, that helps with visualizing the shapes/volumes in different angles). And lastly, I connect parts like the shoulders with the chest line to do the pectorals, the neck with the shoulders for the trapezius, and add details like fingers, collarbone, face.

A general rule i follow is that an average body (skeleton) is around 8 heads in height and 2 at it's widest points (shoulders/hips), so you can divide the body in halfs, quarters, and eighths. So: chin, chest/armpits, waist, pelvis floor, base of the knee, and feet soles become guides to measure and proportion the body. Elbows align with the waist and wrists with the pelvic floor.

[wombywoo]

Ok! I've finally decided to put together a (somewhat) comprehensive tutorial on my latest art~

Please enjoy this little step-by-step 💁‍♀️

First things first--references!

Now I'm not saying you have to go overboard, but I always find that this is a crucial starting point in any art piece I intend on making. Especially if you're a detail freak like me and want to make it as realistic as possible 🙃

As such, your web browser should look like this at any given point:

Since this is a historical piece, it means hours upon hours of meaningless research just to see what color the socks are, but...again. that isn't, strictly, necessary 😅

Once I've compiled all my lovely ref pics, I usually dump them into a big-ass collage ⬇️

(I will end up not using half of these, alas :'D)

Another reference search for background material, and getting to showcase our models of choice for this occasion~

When picking a reference for an actor or model, the main thing I keep in mind (besides prettiness 🤭) is lighting and orientation. Because I already kinda know what pose I'm gonna go with for this piece, I can look for specific angles that might fit the criteria. I should mention that I am a reference hound, and my current COD actor ref folder looks like this:

Also keep in mind, if you're using a ref that you need to flip, make sure you adjust accordingly. This especially applies to clothing, as certain things like pants zippers and belt buckles can be quite specific ☝️

Now that we've spent countless hours googling, it's time to start with a rough sketch:

It doesn't have to be pretty, folks, just a basic guideline of where you want the figures to be.

The next step is to define it more, and I know this looks like that 'how to draw an owl' meme, but I promise--getting from the loose sketch above to below is not that difficult.

Things to keep in mind are--don't go too in-depth with the details, because things are still subject to change at this point. In terms of making a suitable anatomically-correct sketch, I would suggest lots of studying. This doesn't even have to be things like figure drawing, I genuinely look at people around me for inspiration all the time. Familiarize yourself with the human form, and things like weight, proportions, posing will seem a little more feasible.

It's also important at this stage to consider your composition. Remember to flip the canvas frequently to make sure you're not leaning to one side too often. I'm sure something can be said for the spiral fibonacci stuff, which I don't really try to do on purpose, but I think keeping things like symmetry and balance in mind is a good start ✌️

Next step is just blocking in the figures. Standard. No fuss 👍

Now onto the background!

It's frankly hilarious how many people thought I was *hand-drawing* these maps and stuff 😂😂 I cannot even begin to comprehend how insanely difficult that would be. So yeah, we're just taking the lazy copy and paste way out 🤙

I almost always prepare my backgrounds first, and this is mostly to get a general color scheme off the bat. For collage work, it's really just a matter of trial and error, sticking this here, slapping this there, etc. I like to futz around with different overlay options until I've found a nice arrangement. Advice for this is just--go nuts 🤷‍♀️

Next, I add a few color adjustments. I tend to make at least 2 colors pop in an art piece, and low and behold, they usually tend to be red and blue ❤️💙There's something about warm/cool vibes, idk man..

Now we move on to coloring the figures. This is just a basic block and fill, not really defining any of the details yet.

Next, we add some cursory values. Sloppy airbrush works fine, it'll look better soon I promise 🙏

And now--rendering!

I know a lot of beginner artists are intimidated by rendering, and I can totally understand why. It's just one of those things you have to commit to 💪

I've decided to show a brief process of rendering our dear Johnny's face here:

Starting off, I usually rely on the trusty airbrush just to get some color values going. Note--I've kept my sketch layer on top, but feel free to turn it on and off as you work, so as to not be too bound to the sketch. For now, it's just a guideline.

This next stage may look like a huge jump, but it's really just adding more to the foundation. I try to think of it like putting on make-up in a way~ Adding contours, accentuating highlights. This is also where I start adding in more saturation, especially around areas such as ears, nose and lips. Still a bit fuzzy at this point, but that's why we keep adding to it 💪

A boy has appeared! See--now I've removed most of the line layer, and it holds up on its own. I'll admit that in order to achieve this realistic style, you'll need lots and lots of practice and skill, which shouldn't be discouraging! Just motivate yourself with the prospect of getting to look at pretty men for countless hours 🙆‍♀️

I'll probably do a more in-depth explanation about rendering at some point, but let's keep this rolling~

Moving forward is just a process of adding to the figures bit by bit. I do lean towards filling in each section from top to bottom, but you can feel free to pop around to certain parts that appeal to you more. I almost always do the faces first though, because if they end up sucking, I feel less guilty about scrapping it 😂 But no--I think he's pretty enough to proceed 😚

They're coming together now 🙆‍♀️ Another helpful tip--make sure you reuse color. By that, I mean--try to incorporate various colors throughout your piece, using the eyedropper tool to keep a consistent palette. I try to put in bits of red and blue where I can

Here they are fully rendered! Notice I've made a few subtle changes from the sketch, like adjusting the belt buckles because I made a mistake 😬 Hence why you shouldn't put too much stock in your initial sketch~

The next step is more of a stylistic choice, but I usually go over everything with an outline, typically in a bright color like green. Occasionally, I can just use my initial line layer, but for this, I've made a brand new, cleaner line 👍

And the final step is adjusting the color and adding some text:

Tada!! It's done!

All in all, this took me the better part of a week, but I have a lot of free time, so yeah ✌️

I hope you appreciated that little walkthrough~ I know people have been asking me how I do my art, but the truth is--I usually have no clue how to explain myself 😅 So have this half-assed tutorial~

As a bonus, here is a cute (cursed) image of Johnny without his mustache:

A baby, a literal infant child !!! who put this wee bairn on the front lines ??! 😭

Anyway! peace out ✌️

[marimosalad]

How I draw Raphael and Astarion. Idk if these guides are actually helpful (these old mfs are hard to draw) but these are observations I’ve made over the course of a year of drawing them.

Tips from experience: practice tracing over screenshots, study their unique proportions. Pay attention to angles. Defining smile lines and wrinkles using highlights, not just shadows, is a good tip to making their skin three-dimensional and not look too weathered and old. I’m a makeup nerd. Think highlight & contours. Emphasize bumps, ridges, valleys of their features using tonal contrast. But not too much.

Practice drawing noses with a circle at the tip like the first image of Raph. I found it helps outline the curve that dips down to the upper lip, and to understand that the cartilage caps over the nostrils (i .e. the nostrils are more like recessed cavities, not a hole 🕳️ .)

I’m happy to answer any comments or questions 🙈 and let me know if there’s any interest in making more of these (like Astarion’s front profile)

More of my art on bluesky & 18+ & exclusive art on Patreon

[theflyingkipper]

A redo of my Edwards Exploit drawing from ages ago, now in traditional mixed media!

I felt like I didn't capture the mood I wanted last time when I looked it over again (to the horror of everyone who got to see this early. Thank you for gassing up the old one, and keeping me motivated through the making of this)

this version is much more directly studied off the Peter and Gunvor Edwards' illustration, because I've grown into the opinion that the model adaptation of exploit was really weak (technical limitations!!! what a shame) and i want to get back into studying these illustrations, there's a lot to pick apart in them.

Here's a bunch of perspective lines i drew over it when I was sketching. (I don't normally do that when I redraw, but that's usually because I'm drawing from model era screencaps and I can rely on those being proportional, most of the time) Edwards face breaks perspective here just a bit to add more drama to the scene, everything else is proportional.

some in-progress pictures, during which I absolutely HATED how it looked and wanted to switch to digital because I feared I'd messed it up irreconcilably 😭 good thing I was able to look at it with fresh eyes after staring at it for like four hours, the first session of drawing ended at 1am. Believe me, if you hate how your drawing is turning out, put it down and come back to it later!!

Edward is also more referenced off a real K2 here because I really like how they look. Unfortunately they have painful geometry.

something frustrating about my traditional drawings is how they can't be viewed from multiple angles online. I use silver gel pen to highlight some parts (here it's Edward's handrails and the damage) but it doesn't show up well when I photograph it head on. I hope this picture shows a little bit of how it shows up in real life!

(if you can't see, look at the bottom of Edward's boiler bands)

Hopefully you enjoyed reading under the cut :] I like explaining my process and I appreciate it immensely when someone shares my enthusiasm for it.

[narfin-frood]

Hi! I'm a big fan of your art, and I just wanted to know, did you study the WOY art style? I'm asking because the way you draw each character, Hater especially, is so expressive! Do you have any tips with expressions? Thank you!

thank you so much!! and to kinda answer your question: while what i do is, technically, studying, that's not what it feels like. i genuinely just enjoy looking at character sheets. a lot of the time they'll include little notes about things you wouldn't think about unless you're told to, like wander's eyes typically angling towards each other at the bottom or sylvia's eyes obscuring the full width of her neck.

(i have any one of these open in my reference panel almost always! not only are these full of tips & tricks for your everyday sketching, they're full of rules for each character, which are meant to be broken in interesting and fun ways.)

[im gonna pack a bunch of other, tangentially related tips and tricks and thoughts into the readmore, including my personal breakdown of hater's expressions specifically, so feel free to give it a click. long post ahead]

a lot of stuff can be picked up by just watching the cartoon as many times as you want. i have watched every episode (minus big fucking baby episode, which i hate) like 6 times over, sometimes more (looking at you the rager), and that has definitely solidified my wander over yonder visual library.

also, wander over yonder's art style already fits in with the way i draw, because i LOVEE long curvy lines and super crisp & clear silhouettes!!

as for why/how i get hater so expressive.... that mainly has to do with the fact that i think he's So Cute. He's So Cute and i wanna Squash Him. and his character design reflects that!!!

his hood is his eyebrow and his eyes may or may not be rolling around in their sockets, and his nose is a little upside down heart. but all of the lord hater emotion is stored in the chin. lord hater has a bunch of specific and VERY malleable options for mouth shapes, depending on what makes the expression and lipsync look clearest.

you can keep it super simple, with a clear divide between his top and bottom jaw, and do several round bumps for teeth, which they do a lot when tweening, like this:

this kind of seems to be his default state, depending heavily on the episode and when it was made and who was drawing him the most, of course.

you can also keep his jaw and skull distinct, but keep his teeth straight and flush with each other, which helps for sharper expressions, esp. anger or frustration, but can also work for a good "squee". he also sometimes pouts so hard his chin eats his mouth, which is, again, cute.

if you're having trouble keeping an expression clear while also maintaining the distinction between his jaw and the rest of his skull, it's pretty common also to forego most of the overt skeleton bits, save for a few hatch marks to indicate teeth (sometimes squiggles or bumps, when he's yelling about it). in my head i affectionately refer to this style of hater expression as the "peanut sans"

none of these convey the intensity of emotion you're looking for? fear not, you can also always just go Full Skeleting. and give his teeth a full outline. this is great for Pain and Strain and Nefariousness.

and then there are a million expressions in between and possibilities within these parameters beyond your wildest belief. nothing should hold you back from a really fucked-up lord hater expression. not proportion. not structure. ESPECIALLY not symmetry. please. make his chin bigger. make his head bigger. make one eye bigger. make him look in two different directions. scrunch his nose up. whatever it takes. by all means. i implore you to have fun

(honorable mention. his W face. the face when he says the consonant W. sometimes OO. i'm. obsessed. with it . he looks. kity)

anyway. lord hater tangent aside. i could also share my own process for expressions, but it really just hinges on what looks appealing/what i like the most/what communicates the emotion i want to communicate the clearest, and it varies between characters and people.

it helps to, again, build your visual library, and look at lots and lots of funny faces, both in real life and in cartoons you like. make funny faces in the mirror and try to focus on what parts of your face change shape or interact with other parts of your face when you do something like smile really wide or drop your jaw. your skin is taut, and there's a bunch of muscle and fat attached to your bones, so when one big bone moves, a bunch of muscles and fat under the surface will shift around too, and understanding that relationship is really helpful in the long run, both for drawing real people and for drawing cartoons.

and the easiest way to retain information like that is to have fun while you study. stop thinking of it as studying and start thinking of it as gathering information on this thing you like a lot and want to do more of, like when you scroll through someone's account to look at all their art, and just. do more of that. do more exploring and observing. since animation is my special interest, this part is pretty easy for me, but it does still take practice to get into that mindset, especially when you convince yourself you have to be super strict and rigid to make it in the art world. focus on drawing and observing what makes YOU happy first, and everything else will follow.

and don't worry about taking notes. don't worry about remembering everything you look at. just look at things you like, and think about them for longer than you usually would. think about the shapes and colors. what makes that drawing so darn appealing to you, besides subject matter and the vague concept of an "artstyle"? you'll be surprised just how abstract what appeals to you can be. for me, with expressions especially, it comes down to random shit like "i like when the edge of a character's mouth creates a tangent with the outline of their head" instead of "pretty eyes" or other, vaguer elements. and that shit i like becomes a part of my artstyle, but only when it fits in and looks appealing, because you can't do stuff like this in every single drawing & retain a full range of expression

ANYway. i hope this made some sense/helped at least a little. i like lord hater a lot. and i also like to draw

[dizzyisdizzy]

Sorry if you might have been asked this before, but do you have any advice on how to draw character poses? I always seem to have a problem with how to draw the shape and it never turns out right.

Have a nice day☺️

Start with the torso! It defines so much about the character's possible flexibility.

Being more specific, before the pose is finished the only anatomy I consider are the horizontal/vertical alignment of the body, and once I got used to that, proportions. If you worry about muscles/bones at this point you'll just overwhelm yourself. In particular, the hips/legs, arms/collar bone, and neck/chest and upper/lower torsos should line up cleanly with each other. My poses usually start more like the right example, before I add other stuff to see if I like the vision.

These also act as reference points when doing weirder angles and poses, so you can track where the body should be even if its off camera or the angle is throwing you off.

Shapes are very abstract but I got a couple things.

Don't worry about breaking anatomy at this stage. If the shape *feels* cool, just go for it. As long as you keep in mind the essential reference points, you can probably make it work. Super “correct” anatomy doesn’t lend itself to fun shapes. Have fun.

When I first started I drew with my wrist as the pivot point. Wrists are nice for writing small and precise lettering, which is like, the opposite fun and interesting shapes need. You may consider using your elbow or shoulder instead. They create broad, varied shapes far more easily.

If you're not sure what you want from a shape, you can assign traits to your lines and shapes. Convex/concave, soft/sharp, rounder/straighter, etc. Ideas will come easier with better anatomy understanding.

Long term Lesson Plan:

ALOT of Timed Gesture Drawings. You can google it easy. The big skill here is quickly identifying/drawing the essentials of any given pose. I've done countless of these, and it is boring.... but it just be like that sometimes.

Study bone/muscle structure. Again it’s google able. It's the body’s frame so it will influence your shapes (your shapes for bony areas would differ from the ones with more fat/muscle). My method was drawing a bone and muscle structure over real photos/artwork from various poses and angles.

From here I did long-form studies on various pictures. Some were real photos but I also did studies on @/chaesuart from twitter. They have a strong grasp on this stuff and do a lot of crazy poses to push you.

I did a lot of this studying last month actually and my poses do feel much better. Although actually creating poses from scratch is still a challenge (I rely a lot on good references).

[yooo-lets-go]

Answering some asks again:

Again thank you all for all the nice messages you send me! It makes me feel very appreciated, I'm happy so many people like what I do ❤️

I don't, this one is fully from my imagination :))

I don't even know what would it sound like, Polish accent while speaking Russian haha, interesting tho

My dog is also one of those low suspension models ❤️

Thank you! I can tell you how I learned (and how I'm still learning)

It's nothing new but: life studies, photo studies, or redrawing art of famous artists is VERY helpful. What makes it really work for me is drawing while kind of memorizing what you're drawing? Not just automatically drawing a study of something, treating it as an abstract object, but analyzing and memorizing it as a human figure with more or less constant proportions. Then, when you're drawing without reference, you can remember how it looked and use that knowledge.

Second thing is getting an anatomy book for artists, there you can see and uderstand how the muscles and bones influence the outside shape of a body. I used to redraw the poses while consciously noting the connections, proportions and angles of everything.

Sorry if that's not very helpful, that's all I know 😅 (also sorry for the long rambling, I love talking about drawing)

[tesseractrave]

Any tips/tricks for people who are starting to draw Egon or any of the ghostbusters?

The key to capturing the likeness of an individual character in your art is identifying features and proportions. Just like how general stylization or exaggeration of art can't be achieved without knowing the basic fundamentals of it (the "you've got to know the rules to break them" deal), you can also study the fundamentals in specific character's appearances to capture likeness and differentiate between them!

It really just comes down to studying them and their individual features and figuring out how to translate them into your style. I'll use Egon as an example in a little tutorial/rundown on that below the cut:

I've made this mostly unstylized study of his (Harold Ramis's) real proportions and features so we can learn the rules before we break them.

(If you guys want me to make a study like this for the other three, I can! :])

First, I identify the character's foundational shape to assist in stylization. Egon has very rectangular shapes in his appearance.

(For the other Ghostbusters, I'd say Winston is diamonds, Ray is circles, and Peter is squares.)

Then, we spot the most defining facial traits to help us out. For Egon:

Tall face

High-angled jaw

Squared forehead

Long, hooked nose with high nostrils

Flat, thin lips

Small, dark, deep-set and downturned eyes

High-arched eyebrows with low ends

Things like moles, freckles, dimples, and wrinkles can also help a lot as either just features or to convey age. Egon, for instance, has dimples when he smiles! :)

You can add whatever other creases and scrunches you deem necessary. I personally also enjoy the undereye crease for that "mature" flare.

Things like hair and accessories can be included as "identifying features," but they're two of the very few things we can easily change about our face, so unless it's essential for identifying the character (like it is for a lot of anime styles) or you're planning on never drawing them in situations where they don't have them, try not to use them as a crutch!

(I say this because I tend to draw Egon with his hair messed up or without his glasses, and I like him to still be recognizable.)

My style tends to simplify curves and angles to create a more interesting silhouette, and I emphasize and exaggerate features and apply a lot of shape language, but I do my best not to lose the identifying traits that make the character look like themselves.

It's sort of a balancing act, and it's never perfect (people's faces are squishy and can look slightly different from angle to angle and depending on what facial muscles are being used) but I hope this at least helped a little bit!

[oxygen537art]

How did you study human anatomy? Sorry for repetative question

Stage 1. I studied proportions and drew a lot of gesture drawings to get them right.

Stage 2. Construction drawing. The figure is drawn using geometric volumes (e.g. joints are spheres, arms and legs are cylinders, rib cage and pelvis are boxes). As I recall, it helps to understand how to draw the figure in perspective. I don't use this method myself anymore.

Stage 3. Anatomy. I studied bones and muscles, what they are called, what is attached to what, how it all works and looks from different angles and in different positions, and simplified them. And I studied and drew each body part individually.

And of course I've been practising a lot. That's it.

Examples: drawings by M. Hampton

[gayspacepiratesss]

Because I'm obsessed with both sequential art/storyboards and DAtV lol I'm being RIDICULOUS and working on an expression/framing/color study of Neve's rock-skipping scene.

It’s very messy I know! I realized that when I try to be TOO accurate with my screenshot studies I actually lose some of the expression I want to capture, so I’m focusing more on getting the feeling right and less on perfect proportions etc. Also messy is FAST lol which means I was able to do ten of these in an afternoon vs. one or two. ☠️💪😤✍️

I'll post the whole thing with analysis (the camera angles! agh) sometime but for today here's a few out-of-order bits I like. 💕

(Also I am still working on all your lovely Rooks, I promise! I’m planning to post a new batch tomorrow.)

[demilypyro]

At the risk of repeating some other peoples compliments I'll try to note some things I've noticed while studying your face.

1.) Even though in the most recent picture your face is at an angle, it is clear that your features share strong symmetry, something that is often pointed to when people are determining universal attractiveness. The beauty mark doesn't take away from it, in fact it compliments the strength of of symmetry of your eyes, brows and nose.

2.) You have high cheekbones and a strong jawline, but these aren't explicitly masculine features. They are shared by many famous actors, models and the like that are described to highlight their 'royal' like appearance that it gives them. It's even something that people use make up to pronounce by using highlighting powders on those facial bones.

3.) Your eyes are large in proportion to the rest of your face. Your nose is not small but not big. Your lips may be a little thin and I'm thinking a factor in why you may not like your chin in the little cleft under your bottom lip pronounces it just enough. I don't think this takes away from your beauty or ruins any feminine appearance.

4.) Naturally you have a very nice facial foundation, but if you have things you dislike about it, you aren't alone with the majority of the female population trying to find ways to feel comfortable with their appearance. My cis fiance has a specific make up routine, specific skin care products and shower routines that she does for no one else but herself, because they make her feel good and comfortable with her presentation. Not saying this is your answer as well, but rather to give an example and some methods people trend to.

All-in-all, you are very pretty my friend <3

Thanks, Deme. I know you wouldn't say anything you don't mean.

My therapist mentioned being able to set me up with someone who can teach me about makeup and stuff. I'm thinking I'll take her up on it at my next appointment.

[stepmarchen]

Ludovika vs Shuri, a facial comparison breakdown

While it's obvious that Ludovika and Shuri have their similarities, as pointed out by various members of the ASM cast, let's break down some of their differences, shall we?

But before we do, let's address a few things!

ORKA takes design seriously! We can't just chalk up slight differences to "one-off mistakes." As you can see below, she did a study on her OWN designs, micro detailing down to the curve of each character's eyebrows. But to be fair, we will only be using art from recent chapters, as ORKA's style has evolved since the early chapters.

Another reason why we will be only using recent chapters is to avoid differences that may be as a result of Shuri being several years younger than Ludovika. I will also try my best to take this into account as we go.

First things first, let's get the obvious differences out of the way. Ludovika has a lavender hair, parted down the middle and golden eyes. Meanwhile. Shuri has light pink hair parted to the side with green eyes. So you might be thinking, if not for the color differences, they would look exactly the same!

But that's not the case! In some instances, seen from Max or Johannes' POV, Ludovika and Shuri almost seem 1:1. However! We must take into account that given their history with her, they are unreliable narrators, and may show a warped perspective on their memories of both girls.

So why don't we remove all the color! Here we have Ludovika on the left and Shuri on the right down below.

Since we don't have a 1:1 shot, here's the two in similar lighting situations with similar expressions and another with a similar angle.

Here are all the points of differences I noticed below!

Ludovika's long arched brows vs Shuri's downward sloping brows with no arch

Ludovika's long, straight, and slightly wider nose vs Shuri's small pointed, upturned nose

Ludovika's narrow and long face with a distinctly V shaped chin vs Shuri's fuller cheeks and shorter face

Ludovika's full lips, distinctly her full bottom lip but also the way the middle of her upper lips under her philtrum has more volume, often highlighted with a tint on pink (that may be makeup) vs Shuri's thinner, almost pointed lips (almost in an elfy way)

Ludovika's narrower eyes that sit higher on her face as a result of her brow to tip of nose ratio being greater than the top and bottom thirds of her face vs Shuri's larger eyes and 1:1:1 proportioned face (though this may change with age)

It's so fascinating how ORKA illustrates the two to look so similar, yet different. Noticing these small details really shines in on the fact that the two are TWO COMPLETELY DIFFERENT PEOPLE.

We've seen so many members of the cast chasing old ghosts that we're forced to compare and contrast Ludovika and Shuri. In reality, it seems like there are more differences than we initially thought, right?