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requested!! its just some stuff ive learned idk dont trust me too much, i had the parts for this laying around for days and was too lazy to put text on it i also added a collage of some chests ive done last minute



hi-res non-cropped version: part I | part II 

They asked me for a body tutorial, but first a bit of must-to-reads:

  • This tutorial is NOT for beginners
  • Yes, I made this tutorial BUT I’m in no position to say this is 100% correct. This is how I draw, these are my tips that solely adapts to my drawing style and I’m sorry if there are anatomic mistakes. I know I do a lot of them. 
  • When I was cropping this I noticed a lot of grammar mistakes, I’m so sorry I don’t have the time to correct them.
  • I don’t think there is any absurdity here but if I made some big and harming anatomy error please tell me and I will change/delete it
  • I never attend art school or art course, as I said on the tutorial. What I can do is self-taught, that’s why there’s so many errors.
  • the most important: USE REFERENCE IMAGES WHEN DRAWING! If they are real photos and not other drawings is better. This is the truth, you have to copy pictures in order to improve. That doesn’t mean you have to trace them, but observe them until you are able to reproduce it. Especially if you are drawing semi-realistic bodies like me! 

Hhhhh I’m not good with tutorials sorry very much (??)


I’ve been getting a lot of asks lately about the brushes and textures I use in my work, so here’s a BIG FAT REFERENCE POST for those of you who were curious! Bear in mind that I’m really lazy and don’t know what half the settings do, so don’t be afraid to experiment to figure out what works best for you :>



I use the pencil tool with SAI’s native paper texture both for sketching and for applying opaque color with no blending. Lower opacities give it the feel of different pencil hardnesses, while full opacity makes it more like a palette knife, laying down hard-edged, heavy color for detail work or eventual blending with other brushes.

Ink Pen

Mostly made this because I’m lazy and I didn’t want to have to keep turning my textures off/opacity up when I wanted to ink something (even though I don’t do it very often), or lay down flat colors. I find the line quality to be much more crisp than Photoshop, and you can manually adjust in-program stabilization to help smooth out hand wobbles.

Round Brush

The plain ol’ brush tool acts as sort of an in-between for me in terms of brush flow. It’s heavier than my usual workhorse brush, for faster color application and rough blending, but not as heavy as the pencil tool, which has no blending at all. I like to use the canvas texture on this brush to help break up the unnatural smoothness that usually accompanies digital brushes, but it works just fine without.

Flat Brush

A brush tool set to flat bristle is by far my favorite to paint with. I don’t use any textures with it because I think the shape of the brush provides enough of that by itself. I use it for everything from rough washes to more refined shaping and polish. It’s just GREAT.


Best used for smooth blending, washes, gradients, and smoky atmospheric effects.


Basically a grittier version of the watercolor tool, because too much smoothness weird me out. Good for clouds and fog, as the name suggests, or just less boring gradient fills.


To further stave off the artificially smooth look of digital painting, I almost always overlay some sort of paper texture, and it’s almost always this one, which I scanned and edited myself. You’re all welcome to use it, no permission required!

Using overlays in SAI is just as easy as using them in Photoshop. Just paste the texture into its own layer above everything you want it to apply to, and change the layer mode to Overlay. That’s it!

Want a more prominent texture? Up the contrast. Something more subtle? Lower the contrast or reduce the layer opacity. You can also use a tinted overlay to adjust the overall palette and bring a little more color unity to an otherwise disparate piece! Just be aware that too much texture can hurt the readability of the work beneath it, so I’d err on the side of subtlety.

Hope that helps!



Neckline Types



An awesome fuck-ton of ~plegic references.

When drawing a character in a wheelchair, for the love of mud, know how they came to that point. Recognize the differences between paralysis, underdevelopment, infection, etc. Know the difference between quadriplegic, paraplegic, and hemiplegic. Different situations cause different forms of paralysis under different circumstances. Know which one you want your character to have so you know what they can do and/or how they’ll be hindered from doing it. Will they be a Stephen Hawking or a Joe Swanson? Or will they just be some mopey, bitter mess, or even mentally unresponsive? And, depending on what they have, their wheelchair may differ, too. For people who are unable to talk but can still use their hands, they can type or use a joystick (I call it a joystick) to move their chair around. There’s a wickedly wide range to what puts people in wheelchairs and how they end up physically and mentally afterwards. Were they in a car accident? Was it a sports injury? A fight? Infection? Born that way? Lazy? Please do your research. If your character’s quadriplegic, he/she’s not gonna be doing handstands anytime soon. Also be aware that there’s spastic and flaccid ramifications of ~plegia; If flaccid, the muscles will simply hang, and if spastic, they’ll jerk around (either a lot or a little, depending on the severity of whatever the condition is). There’s a lot more to people in wheelchairs than you may have originally thought, so think about some of this shit. My friend is paraplegic (she gave me some advice about assembling the post), and she always tells me, “In my position, this can be a disability only if you make it out to be. Paraplegics can do whatever a walker can do, except walk.” (She calls us walkers… Without fail, I always think of the Walking Dead, and I have to bite my tongue so I don’t burst out laughing when she’s talking about something serious. [Don’t worry; she knows]) Know how your character thinks about their situation, too. Do they think of it as a disability, or are they owning it up and doing fucking cartwheels? Know that there are sports and Olympics especially made for people in wheelchairs and with other bodily alterations. It’s pretty badass to watch, if you get into it. And there are many types of wheelchairs made especially for physical activities such as racing, gymnastics, etc. So, read a book about it all, do some research.

[From various sources]


FUROSHIKI: a versatile, eco-friendly wrapping cloth originating from Japan, used for transporting goods, wrapping gifts, and decorating, among many other purposes

In anime and manga, you often see bento (lunch boxes) wrapped in furoshiki. I recently got one for free from Uniqlo, and it’s been incredibly handy. Japanese people are so creative!


Oh boy I hope I did this right. Since Anon asked, here’s a hasty tutorial on how I do flat colors. This is also how I color pretty much everything in my webcomic. Now you know my secrets!

Edit: WOW this has an excessive number of notes. Also, this method doesn’t work very well on areas of really light colors, like super-bright pastels and white— the shadows wind up really really dark and the gradients have very little effect.


Okay, a handful of my followers were asking me how I lineart. So here it is! I really hope this helps. I’m sorry for any grammatical error ;;