NOTE: One Type Of Fold Will Rarely Appear On Its Own - They Interact With Each Other Quite A Bit! For

i didn’t mean to make this so long but i wanted to both analyze my own style and give other people a look into it! I hope someone can find some use for it! 

have fun w/ this

Here it is, my long winded tutorial, complete with some step by step action. I see a lot of people talk about wanting to diversify their artwork but not knowing how. This is my help to you. You really should take the time to invest in learning diverse eye shapes as diverse artwork always makes you a better artist. And frankly I’m really tired of drawing tutorials that talk up character diversity but only have the stereotypical “one Asian eye”.

I did some step by steps for those three diagrams, but I actually got them from this blog which has 14 of those examples! (Bonus: it’s a makeup blog so if you need help with that or want some idea of how to shade these eyes, there ya go)

How to draw feet by zephy.fr

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for @breadygarden​, you can complement it with this other one I made long ago and SPECIALLY WITH REAL LIFE PICTURES! Mostly this is to point out the things you gotta pay attention. Always always check the head-torso radio. You can mix it up with more body fat too!

Drawing Heads and Faces: Cheekbones

I’ve found that drawing the head starts to make a lot more sense once you start thinking about cheekbones and cheeks, and how the fit into the head structure.

You might be aware of the Mysterious Indent that Looks Good Next to the Outer Part of the Eye, or the Mystery Indent for short. 

Drawing a Mystery Indent may serve you fine if you only draw the head from flat angles, but it falls apart when you get adventurous.

Why isn’t this making sense anymore?

Drawing a ‘Mystery Indent’ is an attempt to imply cheekbones without knowing how they actually incorporate into the skull, and this is why it looks so unconvincing when you use it to draw the head in anything other than ¾ view.

The cheekbones wrap around the head and eye sockets from above the bridge of the nose.  The concave you draw if you draw the ‘Mystery Indent’ is a misunderstanding.  There is no concave.  You should instead be thinking of this as where the eye socket/brow overlaps the (convex!) cheekbone.

Compare the cheekbones on both sides for placement.  They should match up and correspond with each other.

(Knowing cheekbone structure helps when drawing gaunt characters, because their cheekbones may stick out.  Remember to compare the cheekbone placement on both sides!)

* This is part of a much larger tutorial I’m working on about head, face, and facial feature structure.  Hopefully more to come eventually?

do you have any tips for anatomy?? the way you draw bodies flows so well and looks so natural, but its also really detailed!!

Thank you!!! There is too much to say on the matter so I summarised some basics. The best way to learn is to draw nudes (looooots of nudes), but I hope those tips make the process easier ~

Horns and Antlers

took a while, but i'm mostly back on my feet and have energy again.

I received an ask a while ago about how to add horns and antlers onto a humanoid, so here are my thoughts on that:

(image description: a stock image of the human skull from four angles, front, back, side, and three quarters. Next to it, the same image faded and traced over in blue, with red circles all around the top front portion of the skull. A note on the image says, "there are lots of places you can anchor horns or antlers". end description.)

Here I have marked out some common placements for horns/antlers, and I will show them each in more detail below. The four main areas are: the brow, the center forehead, the top, and the sides of the skull.

As a general rule, horns and antler anchor directly to the skull, but they do not emerge from the skin as solid bone. There is typically a covering layer of some sort, like a keratin sheath, that starts where the horn or antler emerges from the skin. This makes horns and antlers look a bit funny when you remove the skin, because the actual bone base is thinner than the covering layer.

(Image description: same as before, with the four angles of the human skull next to traced versions of it. This time, each of the four images shows the skull with simple horns added and the skull altered to accommodate them in the four basic horn positions. Brow, sides, top, and center forehead. end description.)

Depending on the size of the horns or antlers, you may want to add more bone to the skull, or even thicken the neck bones. Bigger neck and shoulder muscles will also be important to keep the head upright with the additional weight. For horns at the brow and forehead, I've made the brow bone bigger, and for horns at the top and sides, I've made the skull a bit wider and thicker in those areas. It isn't a huge difference, and may not even be very visible on a skin layer, but it's important to be aware of.

And now I also have four sketches of how each horn/antler location would look on a person with the skin and hair in place.

(image description: four simple sketches of people from the shoulders up, in basic shaded colors. From the top left, clockwise:

A man with a mohawk and short beard, frowning. He has curved horns over his brow. A woman with long braided hair and a neutral expression. She has a single horn in the center of her forehead. A man with a beard and long unkempt hair, looking tired but happy. He has moose-like antlers on the sides of his head. An androgynous person with short hair, smiling. They have pronghorn antlers at the top of their head. end description.)

It's very easy on the sides and top of the head to cover the base of the horns/antlers by layering the hair around them. But any horns on the forehead area will be harder to cover this way. I've put thicker skin where the horns and antlers emerge, which has made the brow very heavy on the first two sketches. To balance that out, I also made their nose bridges a bit bigger and more connected to the forehead.

So I hope that helps! Horns and antlers are very fun, and they come in so many shapes.

Hello! Do you have any tips for drawing cows? I really struggle with stylizing them and I love how you draw them

sorry this took so long to reply to but i finally got around to cows again.

western cattle are very much an arrangement of rectangles. their topline is straight and angular contrasted by their flabby skin and wrinkles, then you see them from the front or back and they’re round?? the best way to learn to draw animals is life sketches, I go to our annual agriculture show to see cows. They’re also shaved for the show ring there so i get a clear image of them.

looking at skeletals and anatomy drawings is also helps a lot, i recommend Hermann Dittrich’s lithographs and Jack Hamm’s ‘how to draw animals’

when you can visualize the shapes you can start to play with them and stylize

cows and horses are not closely related and their skeletons are very different, especially their hindquarters. i’m not sure what other specific tips i have i hope these help

hi! i’m absolutely in love with ur OCs and ur art :0... how do you make ur characters so diverse? (currently struggling with same face syndrome lol)

TYSM <33 

I think it has a lot to do with big shapes and the relationship between the characters features. So with my OCs for an example I made the shape of their heads very distinct. None of them have the same shape, and the same goes for their eyes, noses and mouths. If you run out of shapes you can just change the relationships, like have one character with a square face, big round eyes and a small mouth while another has the same square face but with flat eyes and a low nose. 

This is used in siluettes and body shapes as well! One specific thing you can keep in mind is where a character’s weight is. Annix has a very square body with mass evenly distributed over her arms, chest and legs, while Aligra has all of her weight focused on her wide hips and big hands/feet. It helps to look at the body type of yourself and the people around you. I have long spindly arms and legs with most of my weight in my boxy hips!

Weight can also be used to vary the characters body language: Corvet has an exaggerated arch to her back while Kiropt pushes her pelvis out in a slouch. This movement in their spines completely defines how we read their personalities. Corvet looks high strung and snobby while Kiropt looks relaxed and careless.

When it comes to humans you get a lot of diversity for free if you make your characters different ages, etnicities, sizes etc. The most distinct differences between etnicities is the shape relationship I talked about earlier. If you make one of your characters white and one east-asian, the white character will naturally have thinner lips and a more pronounced browbone which already makes them different before you’ve even designed them.

Last thing I’m going to mention is perspective. Sometimes your characters faces look too similar because you always draw people from the same angle! Just making them look up, down or to the side a little can make a huge difference. Especially if you draw really stylized art since you can’t draw a nose viewed from the front with the same lineart as a nose viewed slightly from the left.

I know this explanation is a lil messy but I didn’t have time to do a proper tutorial. Thank you for asking though, and good luck with your art! :)