#anatomical landmarks

[famglamsworld-01]

Amazing branch which also even deals with the problems of oral cavity we don't even know about

# So cool

[ghost-of-a-dream-girl]

Vampiric vascular access PSA from your friendly neighbourhood fanfic writing medic: Where To Bite

For those of you who, like me, love to write/read this sad vampire (or indeed anyone who likes to write any vampire), there were just a couple of sexy little anatomy things that I wanted to highlight (purely for fun).

First: arteries vs veins - Arteries take blood at pressure generated by the left ventricle of the heart, hence the pulse, to tissues and organs. Veins are a low pressure system that take blood back to the heart (via all sorts of mechanisms like valves, suction pressure from inspiration, pressure gradients, etc). - The inherent not-quite-sexy risk to puncturing/bleeding from an artery (especially a big one) is the risk of clot formation and with that the risk that those clots travel (embolize) further down the artery. This can result in things like strokes or ischaemic limbs. - Major arteries have associated major veins running nearby them. - Because of pressure differences, arterial punctures can spurt blood out, whereas veins ooze. To drink from a vein you'd have to apply a little more suction, whereas drinking from an artery might be a bit more messy/squirty. - Sure, veins don't pulse in the way arteries do BUT the way that we find these big veins (without ultrasound) is via use of anatomical landmarks. Your fave vampire will likely know those landmarks. Durge will likely also know these landmarks...for other reasons.

The neck (the classic, and everyone's favourite) - One of the things we look for as part of a fluid status assessment/CVS exam is the JVP (jugular venous pressure), which reflects pressure changes in the right atrium. For this we look for the double waveform pulse on either side of the neck coming from the internal jugular vein. It's not really palpable in the way arterial pulses are, but it is visible in most people (especially at neck turned 45 degrees). - The internal jugular vein (IJV) AND the external jugular vein are the two chunky veins of the neck. The IJV in particular would be a good one to bite for the same reason it's often a favourite vein to use for central line insertion- it's large, superficial, and usually pretty straight in its course within the neck. - The carotids are the major arteries of the neck, sitting more in the midline and protected a bit by a muscle there (sternocleidomastoid).

The inner thigh (the smut writer's favourite) - Gods know that the femorals have been doing some heavy lifting in vampire smut fics. Given the fact that they are located on either side of the groin, any biting action there has the inference of a lot more physical intimacy. - Like the neck vessels, you have big arteries AND big veins in the femoral region too. You have the femoral arteries which lie again more in the centre (like the carotids), and you have the femoral veins which actually lie more medially (more towards the mid-line of the body, i.e further in on the groin). These then branch out. - For purposes of vampiric vascular access, the femoral veins would be just a bit easier to get into position wise, but they do run very close to the femoral arteries. Because of how anatomy and fat distribution works also worth mentioning that the femoral vein and artery also lie a little deeper, so would require a much deeper bite.

Peripheral pulses (for those little nibbles) - For a quick snack more peripherally, it's going to be much easier to chomp into a peripheral artery. Arteries have thicker, more muscular walls than veins and the more superficial veins get the flimsier they are (i.e would be bitches to try to puncture with fangs). - We often sample arterial blood by puncturing the radial arteries. The radial artery runs on the thumb side of the wrist, and is very easy to palpate! - One could also attempt the brachial arteries, which are just above the inside of either elbow. A little deeper, but still palpable. - For the more adventurous bloodsuckers, you could even go for the dorsalis pedis (top of the foot), or the posterior tibial (below and behind the innermost part of the ankle bone)! See below: Astarion sampling a little of that radial artery juice

Aftercare (for the bitten) - If you are biting an artery or big vein you will usually need to apply some pressure to stop the bleeding. - In terms of clotting, it depends on what magical properties you believe vampire spit has. If none, it generally takes a few minutes to stop bleeding with a bit of added pressure, but bigger puncture sites may take longer. - That said, all bleeding stops eventually in one way or another- just ask Durge. - Like always, after a big drink you may need to ask your cleric friend to help you out with a cheeky lesser restoration spell to stimulate erythropoeisis so you're not wandering around the Realms so deeply anaemic.

Happy biting, friends!

[molagboop]

After referencing numerous diagrams, avian necropsy records, and my own prior knowledge of human musculoskeletal structure, I have devised speculative anatomical structure for Chozo.

We'll start small with my first attempts to properly chart basic skeletal structure from last year (seeing as how that's what I used as a jumping off point), then move on to the research-based stuff. I wanted to walk through the process of solving problems presented by the skeletal structure.

First we have a cursory look at the ribcage. Drafted June 7, 2023. Leaning into the more humanoid appearance.

New addition, May 2024: a first shot at sussing out wing bones. These bones need to be much, much larger to accommodate the full breadth of the limb: this is just a rough outline. The skeleton also needs to bear muscles that are strong enough to carry the Chozo in flight, hence the new protrusion on the chest: a keel. Two variants of this new breast came out of this drawing session: one with a large keel that extends below the sternum and one with a normal keel.

Image credit: Wikipedia

Human ribcages have this ridge along the bottom that the last six ribs are attached to (noted in grey on the image above). We're not doing that with the Chozo ribcage.

The sternum is the structure in the middle, which the ribs are attached to. See those two bones attached to the top of each side of the sternum, stretching away from the center of the ribs and forming sort of a capital "T" silhouette? Those are the clavicles. When you're drawing any humanoid form, the clavicles are an excellent landmark (and as I've been taught, the first place you should start on anatomy after you've laid out your pose, armature, etc).

It's also part of why wings are so difficult to suss out on Chozo skeletons. In birds, a bone that consists of a fusion of the two clavicles is a crucial part of flight: the clavicle bridges the gap between the ribs and the arms, and for birds, the wings are their arms. That's problem number one: effectively consolidating two pairs of arms on one torso.

We have a few bones to add onto the human skeleton in order to make flight possible for Chozo. First, we'll assume all bones are hollow. This makes them lighter, demanding considerably less energy to lift them off the ground in the first place.

I've modified the sternum to add a keel, which the base flight muscles are going to be anchored to.

First pass at revising the skeletal structure. I made a few modifications unrelated to the wings. The pelvis is similar to that of a human, though a little wider to accommodate egg-laying. I may end up reworking the pelvis entirely to make it more bird-like, but I'm more interested in making those wings fit at the moment. Chozo have a human femur/patella, and avian lower legs.

Here's a thing I slapped together in 3 minutes in January of last year to illustrate which bones are where for the layman. Onto different matters.

Skeleton, labeled.

Generally, the wings' humerus is attached to the scapulacoracoid, a bone attached to the keel that's sort of Y-shaped. That's how a real bird's shoulders are structured. Humans posses a scapula (shoulderblade), which has two protrusions: the acromion process and the coracoid process. The acromion process is where our humerus joins the shoulder. The coracoid process in humans is not exactly big enough nor ideally shaped to anchor flight muscles to.

At first, I had three ideas:

Invent a new bone attached to the keel that serves the function of the coracoid.

Modify the scapula to fit a new bone that anchors the flight muscles (the scapulacoracoid is analogous to the human scapula, after all).

Forego the keel and invent a bone on the spine that does the same thing.

To start, I added the furcula, a Y-shaped bone on the sternum, flanking the keel. Fun fact: not all birds have a furcula (better known as the "wishbone" in some parts of the world).

Real quick muscular structure layout sans flight muscles.

First pass at the flight muscles. Not the most accurate wing muscles in the world (neglected to depict the muscles near the tip of the wing, for one).

In this model of the musculature, a good deal of the flight muscles around the breast and torso are hidden by the pectoralis major, much like several non-flying human muscles.

Flesh applied over muscle.

Feathers applied over flesh.

That was my first attempt at constructing the Chozo skeleton. You'll notice the wing bone solution is inelegant. See, wings are analogous to arms. Their metacarpals are finger bones. In order to give Chozo both arms and wings, we'll need to deviate from both avian and human skeletal structures to make the pieces fit together.

I can't make the flight muscles stretch comfortably over the clavicle: that has the potential to impede motion in the arms. My first idea in the second round of flight bone shenanigans was to invent a second bone that fit between the spine and the scapula, like shoulder-bound plate tectonics (working name "scapula trellis"). I wasn't wholly confident that I could configure flight muscles in a logical manner even with this setup.

At one point I consulted Raven Beak's model. Note the patches on the back of the torso on the powersuit: that's where the wings emerge in phase 2. It looks like they're anchored to the scapula or an adjacent structure.

Barring the fact that his wings are absolutely ridiculous, I wasn't sure I could work with this. Gorgeous structures, but the feathers don't seem big enough to handle flight.

So I was left to brainstorm, and drafted up a few sketches for a second scapula to anchor the wings' shoulder joints to. I was more confident in this than I was the previous design, but I wanted to fish for ideas from other parts of nature.

Enter dinosaurs. Specifically, the Pteranodon with its shoulder girdle.

The addition of a shoulder girdle as an anchor for the yardarm (the term I'm using for the humerus of the wing, applicable only to creatures that have both wings and arms) seemed like a better solution. Positioning it below the scapula allows me to place the wings a little lower on the back, providing minimal interference between the two sets of limbs.

Whether we're rolling with the shoulder girdle or a second scapula, the intended result is the same: the wings have moved down on the back of the torso (personally, I'm digging the girdle, but the second scapula is on the table if anyone else wants to try their hand at this).

Muscles from the back, illustrated. Note the distance between the deltoid (shoulder muscle) and the wings. The shoulder girdle is situated in the lower-middle of the back of the ribcage.

A few notes: the acromioecstasia exists because the muscle that usually connects between the body and the patagialis longus on real birds is located on the pectoralis major. If I emulated that, we'd have flesh crossing over the deltoid to reach the front of the body, which would obstruct movement of the arms. We don't want that, so I moved that section of the wing to the back. We're compensating by adding additional musculature up front.

Wing muscles from the front. All three pectoral muscles are attached to the keel. The pectoralis medius is an extension of the pectoralis major, running beneath it and several other muscles. The pectoralis minor (also known as the supracoracoideus) lies beneath both the major and the medius. The pectoralis medius and major are responsible for the downstroke, while the supracoracoideus raises the wing between flaps.

Flight is very taxing on the individual. Power suit wearers actually have an easier time flying than non-wearers because the suit passively offsets the metabolic demands of flight with its own Energy.

It's important to note that these sizes are not necessarily "to scale". Chozo wings should actually be much bigger than my canvas permitted me to show. I had to keep increasing the size of the canvas on one of my files to accommodate a reasonable wingspan, but even that's not broad enough! I had to stop expanding the canvas for the sake of my CPU. If any muscles look too dinky or the scale seems off on some bones, that's why: I just needed to swiftly illustrate where things are.

A Chozo's total wingspan should at least be twice the individual's standing height. Any smaller and there's no lift.

I still don't necessarily consider the wings "solved": if any speculative biology enthusiasts want to weigh in further on the subject, feel free!

After laying out the bulk of the skeleton (and before solving the wing problem), I decided to go a little further in my studies. Thus, we have organs.

First, the digestive system.

The esophagus is self-explanatory. Food goes in through the beak, traveling into the body through the esophagus.

The crop is used to store food: this is where digestion begins. Many parents regurgitate mushy, enzymatic food for their children from the crop. Very nutritious and promotes growth.

The proventriculus is the first half of the stomach: protein bonds begin to break down here. Gastric fluid produced here aids the gizzard in mushing things.

The gizzard is where the bulk of food-crushing occurs. Breaks larger matter down through transfer between areas within the organ.

The liver and gallbladder are crucial in digesting fats. Real bird livers have two lobes: the left is smaller than the right. Two bile ducts from the liver connect to the distal duodenum: the right duct is connected to the gallbladder. Chozo only need one.

The duodenum is the start of the small intestine, running in tandem with the pancreas. Pancreatic enzymes created by the latter assist in completing digestion, processing sugars, etc.

Digestion is finished in the other sections of the small intestine, where nutrients are absorbed.

Chozo kidneys largely resemble their human counterparts. Connected to the lower half of the gastrointestinal system. Urate is disposed of through the cloaca, transferred from point A to point B by the thin ureters bridging the kidneys to the large intestine.

Bacterial fermentation in the ceca extracts nutrients from plant material that can't be digested through enzymatic breakdown. The ceca and large intestine also reabsorb moisture, forming the solid portion of indigestible waste. The ceca are larger in tribes that eat more fruit and other plant products. Mawkin ceca are fairly small: they live quite an active lifestyle, and plant matter supplements their all-rounder diet with meat as the foremost staple.

The large intestine is the end of the line. Renal and intestinal waste is ejected here. The end of the reproductive tract forks to the distal segment to facilitate egg laying. Mammals have considerably larger large intestines than Chozo to dry out waste before expulsion.

Next we have the respiratory system. The trachea takes in air and delivers it to the lungs. Unlike mammalian lungs, Chozo lungs are inelastic: they don't expand and contract. The air sacs do all the expanding and contracting: they're connected to the lungs through a network of bronchii.

The high metabolic rate required for flight demands a ton of oxygen, and Chozo respiratory organs are designed to do just that. The mechanics are fascinating but I won't take up too much of your time explaining the finer points. Wikipedia's write-up on the circulatory system of birds is a good place to start if you want to dive deeper.

The short version is thus: air enters through the nostrils, traveling into the bronchi through the trachea and syrinx (the syrinx helps Chozo vocalize). The bronchi deliver air to the lungs. When Chozo inhale, the posterior and anterior sacs expand: the posterior sacs take in fresh air while the anterior sacs fill with air that has already passed through the lungs. Air is constantly circulating through the lungs, and it's a one-way flow.

Parabronchii are microscopic tubes that run perpendicular to the blood capillaries. Parabronchii efficiently diffuse oxygen from the air into the blood.

The next image set deals with a few extraneous vital organs. I'm not going to illustrate the nervous system nor arterial network, just as I neglected to illustrate all the bronchi in the respiratory system. That's a lot of tubes!

The circulatory system is pretty standard, but it pulls largely from Dread. Here's the thing: in the pre-boss fight cutscene for Raven Beak (aptly named 0086_comanderorbital_video_artwork_01.webm in the files), we see him contributing to Samus' biological makeup. His heart is set firmly in the center of his chest.

This is anatomically accurate to real birds! Bird hearts are placed similarly in the center of the chest, flanked by the left and right lobes of the liver (linked image is a labeled black and white illustration of a dissected pigeon, showing most of the major organs).

The brain is exactly what you think it is. No, the most interesting part of this last image set is the harus.

The harus is an accessory to the lymphatic system. You'll notice its proximity to the respiratory system. Lymphatic capillaries accompanying the parabronchi network filter more harmful atmospheric molecules into the harus, which makes use of specialized cells to recycle these molecules in a process that synthesizes ATP. In addition to this, the harus helps maintain the body's proper pH levels in hostile environments. This organ is what allows the Thoha to breathe in Zebes' toxic atmosphere.

Headcanon time: the majority of non-powersuit related genetic alteration done to Samus Aran in her youth is related to this organ: her respiratory system was altered with the proper instructions to produce specialized harus cells on their own without needing to transplant the organ. Samus can breathe on Zebes because her lungs can perform the function of the harus while she breathes.

Full-size pngs for everything are available on Ko-fi and Patreon. The canvas for this project was pretty big because I wanted to be able to capture the scale of the wings somewhat.

ADDENDUM, May 16, 2024: Chozo should have a modified pelvic bone that more closely resembles a synsacrum, not a humanoid ilium: I am a fool and completely forgot to make alterations in that department.

[petricorah]

Thanks for the ask, @strrwbrrryjam ! i'm flattered that you think I do a good job of that, because I'm still learning! (and I also struggle heavily with proportions. I have to resize my heads and arms so, so much...)

I'm afraid I don't have any secrets. I think the answer is to just practice, over and over again. But specifically, this is what I try to focus on as I'm learning:

references

quick practices - 30 second to 5 minute studies that help with getting a full scope of the shape and energy of the body, not meant to be perfect

studies - deep dives into certain anatomical structures (videos linked below)

Below the cut is how I use references go from this to this:

References:

Use a bunch of references! Pictures you take, stock images, from shows--practice real people. Even if your style is heavily stylized, it all starts from an understanding of anatomy.

How I Use a Reference When I Struggle With Proportions:

The first step I take while looking at a reference is to just draw a very loose sketch with a line of action that goes then entire length of the piece, and I try to section it out. I find if I don't think about the body as a whole, and just start drawing a head, the head will be way bigger than the rest of the image. So my first step is just really boxy and basic, just to get all appendages on paper. My first pass could look like this:

Okay, not bad. But the right arm is going way too far down--the forearm is really long. The head is too big for the style I want, and the left arm is at a 90 degree angle, unlike the picture. But, I have the general scope of everything on the page, so it's easier to adjust and look at the full picture!

Then, I try to focus on landmarks. I look at where certain body parts fall in the reference. For instance, Blackbeard's right elbow doesn't reach his belt, so his elbow shouldn't be near his waist. I can tell that his left arm is closer to being straight than at a right angle, and I can see that his head isn't as big on his shoulders as I have. I can also look at the negative space and see that the gaps between his right arm need to be smaller. So my next pass might look like this:

(I don't usually draw on the reference image, and I just "draw" the lines in my mind, but the for sake of things...)

Now it's looking a bit closer!

The next is the harder part. It's making things shapes, and is closer to the lineart stage. I try to follow curves, separate the chest from the torso, get the angle of the shoulders and head, etc. I have some video links at the end that explain this step much more in def.

You may notice that the head angle is a bit different than the image, and the shoulders are a bit lower. Sometimes, following a reference image completely either doesn't fit your style or, in some cases, the more accurate drawing following a reference can actually look "wrong" (anatomically) when drawn. Figure out what works best for you, and for the message you're trying to get across in the piece!

[sliiiight flashing in timelapse]

And here is the final timelapse, with a little refining and polishing of the anatomy. Not everything is completely accurate to the reference image, but I've created a believable image in the likeness.

I hope this helped! This was a quick and dirty post of something I'm still learning. Here are some youtube tutorial artists, resources, and books that I use to learn!

Youtube:

-ModerndayJames has lots of videos on creating shapes and understanding anatomy, and placing people in perspective. He has a lot of free videos, and then some cheap ones on gumroad that go more into it.

-Proko has lots of videos on anatomy!

Practice Resources:

-Pose Maniacs - figures in different poses. You can move the camera around to see different angles.

-QuickPoses has images for figure drawing and quick gesture drawing! You can even have different timers.

Books:

Morpho Series. There used to be the one on "Fat and Skin Folds" that was a free PDF download that was on tumblr for a while, but I don't believe the books are that expensive.

Taco's Books, published by Lezhin. This is heavily anime styled, but talks a lot about anatomy, and is a great resource!

[catgirlhell]

Due to much reblog of your art in front of my dash- HOW DO YOU DRAW MOUTHS!? (Also I have your patreon pinned now)

thank you so much!!! the secret is bullshitting it until it looks right finding the structure of the face! i'm a huge proponent of various aspects of the reily method of figure drawing, and while im not formally trained in it, i've taken a lot of notes on it from free info on the internet (namely watts atelier, which sadly i did not go to for my arts education lol) and i use it to plot out some key things on the face!

assuming you begin with the head as a ball and split it into 4 even chunks, the eyes are placed a bit lower than the bottom half of the circle, with the eyebrows around the midpoint. the thing we do here is steal a little bit from the loomis method--

to find the side planes of the head! if you feel around where your temples are, you'll notice that area all the way back to the end of your ear is pretty flat! you might also notice that beneath your temples and just behind the eyes, there's a bony protrusion--

the cheekbones! finding those is probably the most important thing here (real reily method truthers are lambasting me for my shorthand here) but once you find it, you can find basically everything else in the face.

this shape descending from the cheekbones is actually where your nostrils sit (beneath the eyes) and how your mandibles sit!

see how it's starting to look like a skull? these are all the bony landmarks, which go a long way towards determining where fat and skin sit on the face.

that's where the teeth go!

and that's the skull at large!

as a shorthand, im usually far more focused on just getting this side plane of the head defined, as once you have it, you know where pretty much everything going on with the head. the thing about mouths specifically is that they're more of an exercise in shape language than they are anything anatomical (so long as you arent making them a detailed focal point at least) so as long as you know where to put everything else, a mouth will usually feel like it belongs on a face.

and when the mouth becomes long and you must SCREAM, because you know where the mandible connects to the jaw, you'll be able to simply unhinge it and yell!

this is kinda detailed but i hope this helps!

[amielot]

as per a previous post, your shape language in your art is stellar! any way you could share how you learned to draw or do you have any inspiration for your style? I'm looking to get into digital art but dont know how/where to start

oh boy so first off I hardly consider myself an expert . but I do have some weird tricks that I learned to make drawing people/stuff easier. take these w a grain of salt.

most of the time I'm designing and and pushing gesture more than I am trying for perfect anatomy and will break a LOT of anatomy rules for a nice sweeping line of action lol. I figure out the very basic anatomical shapes in the body, and then I stylize those parts. I also figure out where certain "landmarks" are on the body ( collarbone, scapula, trapezius, bottom of ribcage ect) and I indicate those landmarks with a little bit of construction line.

I get inspired by a LOT of people, emiliodekure (on instagram), Johane Matte, The Etherington Brothers, Grace Liu, and Krossan are some!

My advice for digital art is definitely get a drawing tablet. I got a cintiq off of a guy on Craigslist back in 2016 (the kind with a screen). but non-screen tablets will also do the job very well and some artists prefer them. And the non-screen tablets are MUCH more affordable. There are also many MANY good art programs nowadays to choose from, clip studio paint is a good option I can think of off the top of my head. Def do your own research. Decide what is right for you.

and my other advice is you have to draw a LOT. Draw EVERYDAY. Not just on digital, but physically in sketchbooks too, do figure drawing, gesture drawing, focus on line of action, where your subject is putting most of their weight, think abt sillouette, building your foundational skills is essential.

that's it, that's all I can think off at the moment. I hope this helps lol!

[artsyjesseblue]

Whenever I feel like I’m losing my skills in drawing the human body, I always go back to the basics and start studying again. Especially hands, those seems to always fade faster from my drawing memory. I wanted to share my process of drawing hands, because I’ve heard many of you raising similar issues.

There are many drawing techniques out there and lots of pose reference sites; a very simple technique is to view all body forms as simple 3D geometric figures. Yes, that is a good way to establish the general forms and their proportions in relation to each other. But my recap does NOT start off with this:

Instead, this is my go-to method:

The old, classic anatomy… The hardest to master, but once you understand the skeletal structure and how the muscles and tendons overlay, then the drawing starts to make much more sense. This is the foundation for best art.

Halloween just passed, but some of you might still keep outside those fancy skeletons. Some of them are anatomically quite accurate. If you’re looking for a way to learn to draw, you might discover that it’s been there all along. 😉

Wondering what those red arrows and lines mean in my above drawing? Those are anatomical landmarks. They are my clues to where everything is situated underneath the skin.

Without entering into crazy bone names like scaphoid, lunate, capitate, etc (which I used to know by heart a long time ago - but reciting their names doesn’t really help me with actually drawing them), just know that besides the finger bones (the phalanges) and the metacarpal bones that make up the palm of the hand, there is that cluster of tiny bones right at the base of the hand. These guys basically create the connection between the hand and the bones of the forearm (radius and ulna). Depending on the angle of the hand, they give lots of reference points to an artist, along with the radius and ulna extremities, which form the base of the joint (top two arrows on the drawing).

The anatomical landmarks are the key to mastering human figure drawing.

One important thing to remember is that no finger bone is like the other. If, when you’re drawing a hand, you begin to “count” the fingers like twigs, instead of drawing them as unique elements, that’s a sign that you lost the anatomy of your drawing. Each finger is like a different person. It has a different character. Sure, they’re all related, like siblings in a family. You won’t see a hand with two pianist fingers and three lumberjack fingers. They have common traits, but they are not quite the same. And that’s because the bones underneath the skin are not the same. In the drawing above, I highlighted the way the knuckles and the joints of the fingers align in concentric arcs (which are not necessarily parallel). They don’t align in straight paths. Whenever you draw a hand, keep that in mind.

Below, I added a few pics of my own hand as a drawing reference. Although my hand is not the best at depicting anatomy since I don’t have very evident joints, there are still discreet changes in the contour lines that indicate where there are bones underneath the surface: the ulna, the radius, the metacarpal joints, etc.

Here are some more pics with various angles. Notice, again, the subtle transitions, suggesting the bone structures underneath.

There are as many hand types as people on Earth. Not one is like the other, and that’s determined genetically and by the amount and type of physical activity - because the bones underneath are reshaped by the pull of muscles and tendons. So studying a hand is basically like studying a portrait.

A good way to practice learning how the bones align underneath the skin and muscles is to study x-rays of hands. You can understand the relationship between the outer shape of the hand and the internal structure. Sure, there are muscles and tendons that further refine the shape, but the bone landmarks will always be right where they are supposed to be. Draw, draw some more, practice a lot, repeat. Study the differences in bone length from one hand to another, from one finger to another.

No plastic skeleton model? There are some really cool apps out there; I’ve never used them, in fact I just downloaded one today to play with it and it’s really cool. Search for “anatomy 3D” and you’ll find lots of apps, some of them include body movement.

So here are three steps (I won’t say they’re easy, because anatomy is complex) to get better at drawing hands (and by extension, the whole human figure):

Best is to start with basic images with the palm laying flat, like the x-ray image above. Draw the bones and the outer shape of the hand. Examine the ratio between the length of the fingers and that of the palm, the width of the palm vs the height, etc.

Then transition to more complex models, like the anatomical 3D models I mentioned before, so you can see how the bones look from the lateral view, and so on. Draw from many angles, see how the bone shapes look in perspective.

Last step is to use a real-life model (your own hand is the easiest), and knowing where those anatomical landmarks are, start practicing. Again, simple poses first, more complex afterwards as you get better and better. NB: there are lots of landmarks on a hand. I pointed out the less obvious ones. There are also the knuckles, the finger joints, and I have not discussed at all about the palmar side landmarks (the inside, or the palm of hand) but you can find them in the apps I talked about. As a rule of thumb (pun unintended), there are landmarks wherever there are joints between two bones, or where the bone has a protuberance. Some are discreet, others are more evident. Palpate your own joints to better understand what is underneath the skin.

I hope this helps others too! Whenever I’m stuck, I return to this routine, and it helps my rusty drawing get back on track. I focus on whatever body part I need to re-learn, and then zoom out to the whole human figure. Knowing these landmarks will make your drawing look natural, the shapes will flow coherently.

[barbatusart]

youve probably had this ask before, but do you have any tips or resources on drawing gore without having to look at the actual thing as reference? im good with horror movies and all, but the idea of real shit makes me wanna throw uuup

yes yes and yes absolutely. there’s zero reason to look at the real deal, & frankly im thankful every day genZ has rejected it as hard as they have, cus i know i went on & on about it in ROTTEN but a lot of us millennials on the internet really suffered when gore was commonplace.

THE BIODIGITAL HUMAN: biodigital.com is a phenomenal free 3D medical-grade anatomy resource that will teach you what every solitary fiber of the body is called + where it goes! gore & horror art can be done any way you please, but if you’re looking to make more realism-based work, referencing anatomy & knowing your stuff is key. think of it like drawing a salad having never eaten a salad vs. drawing a salad where you know all the ingredients

GROCERY STORES: next time you’re shopping for groceries, it helps to pay special attention to the meat section! we’re all made of meat after all, so anatomy will teach you where everything goes, and grocery meat will teach you the behaviors of tissue - for instance muscles are soft and fibrous, the fat cell layer is here and behaves as such, skin is around this thick & so on. you won’t find particularly fatty cuts at the grocery store admittedly, so you’ll be missing the key fat cell layer, but that’s where anatomical ref comes in. adding the fat cell layer (yellows and oranges) steps up your work tremendously towards realism! also for any offal on sale (liver tripe etc) this is a great chance to look at organs & take note of their texture & how you would draw such an object

SHOWERS & MIRRORS: the best body ref you’ll ever have is your own self! really poke around and see where your bony landmarks are, where fat sits, & how skin bunches, stretches, & molds. the best thing ever to do too is to set your phone to a timer & then contort into a hideous pose on your floor & then try to draw it lol. self observation like this will help you figure out where the weight of the body moves towards, even if you don’t have much weight on you it’ll still move and behave with certain properties that are super helpful to study

ANY TIME YOU GET HURT BY ACCIDENT: next time you skin your knee or god forbid require sutures is also a fine opportunity for learning! blood is also a tissue & behaves with certain properties - its viscosity, how opaque it is, clotting factors, & so on. blood won’t always be a totally red Mass, it’s got texture & shade to it as well as different hues. don’t forget your browns! color is a big one too - a little orange in the yellow for the fat cell layer, a little purple in the red for muscle fibers, & so on

SURGERY FOOTAGE: the ONE actual life reference i can recommend, and this is only if you know yourself to be of a fair constitution, is youtube footage of surgical procedures such as knee replacements, ectopic pregnancies, top surgery, gastric bypass, small bowel obstruction, etc. clean sterile environments, significant education, & MOST IMPORTANT OF ALL: the knowledge that the patient walked away happy, healthy, & with a new lease on life. this will teach you countless things about anatomy, body structure, tissue behavior & color, you name it!

the most important thing to remember with the body is that anatomy will show you Where it is, meat will show you How it is, but remember that organs & tissues behave different than the models show, as they’re all in one place just for ease of visibility and education. the body is soft & it’s got all sorts of soft stuff in it that wiggles around & shines & makes weird farting noises LOL. think of the body like a cake, & horror art like a cake you dropped on the ground where every layer of it is going to behave differently!

[slamminslamminmcgill]

Lalo meeting reader at a night club and than fucking them and maybe he says something about their top scars

hiiiiii this is the perf prompt for me rn bc ive been hoeing around lately and i got IDEAZ

this ended up being really long (3,448 words 💀) so oopsie it's going on ao3 too :3

warning: choking, humiliation/degradation, mild transphobia, gloryhole, face slapping, facials, squirting

anatomical terms: pussy/cunt/hole, (t-)dick

The queer nightlife scene in Albuquerque left much to be desired.

There were very few gay bars located around the city, even less that were trans-friendly. Some were seedier than others, but you’d heard rave reviews via word of mouth about this one place. Generally clean, fair prices, friendly staff, but mainly that this was the place to go if you needed dick with minimal questions asked. Allegedly, the stalls in the bathroom had gloryholes cut between the partitions, and a closed stall usually meant that someone was game. It was a little dehumanizing, sure, but in all fairness the only thing you really needed from a partner was cock. You’d like a little more, but you'd take what you could get.

Unaware of what the etiquette was for a place like this, you figured it'd be suspicious to head straight for the back. So, you decided to have a few drinks at the bar. They were stronger than you expected, but maybe a little less inhibition would do you good. One drink to loosen you up turned into a few more to make your head spin. Eventually, you were sauced enough to go for it.

Your heart was racing as you entered the men's bathroom. It was bigger than you expected. For one thing, there were two long rows of stalls facing each other, leading to a separate area with sinks and vending machines. There were dim lights in each stall and above each sink and vending machine, mapping only essential landmarks in otherwise complete darkness. A few men much bigger than you were walking around. Some went from their stall to the sinks; some headed straight for the door. You kept your head down, not wanting to make eye contact and reveal yourself to a potential suitor.

You weren’t sure what you were looking for, in all honesty. You peered into every stall on the left. No holes. That must be the safe zone, for people who just needed to relieve themselves in privacy. Then, you peered into every stall on the right. Sure enough, the interior partitions each had a hole cut into them. That was the danger zone, for people who wanted to "relieve themselves" in a much different manner. You wanted danger, but not too much. You wanted to flirt with danger, not get drunk married to danger in Vegas and lose everything in your divorce with danger. Thus, you parked yourself in a stall on the end, that way you had only one side to watch.

You locked the door, hung your jacket on the hook, dropped your pants, and plopped yourself on the toilet. From there, all you had to do was wait. Wait like a sitting duck. Fitting, that's how you felt. To say your senses were heightened was an understatement. Every miniscule sound made you jump, and your heart stopped when the stall next to you closed. You could hear the stranger breathing next to you. They crouched down, probably to peer into the hole and check you out. You scurried up the back of the toilet, angling yourself away from exposure. Thankfully, the stranger took the hint and stood back up. You sighed in relief, relief that was cut short by the clinking of a belt. You could feel the tension brewing, pressure building and building, until you heard something slap against the hole in the wall. You didn’t have to look. You knew what it was.

Still, when you did turn to look, you liked what you saw. It was a fat, well-groomed, medium complexion, uncut cock, and it was already hard and leaking. You licked your lips and positioned yourself in front of it. You reached out and gave it a tentative pump, spreading the precum around with your thumb. The stranger pulled back a little, which made your breath hitch in your throat. No, c'mon, don't leave! You thought. You'd already come this far. You wasted no time taking it into your mouth. Safety be damned, a condom would've taken too much precious time, and you had none to waste.

You actually didn't mind sucking it raw. The cock certainly felt and tasted better without latex and stale lube in the way. Sweet glaze leaking from its slit, smooth and salty skin, a hint of aftershave, and just enough musk and sweat to activate your base instincts. The anonymity made more of a difference than you thought. You didn't have to worry about looking pretty, or whether or not the rest of your partner was as gorgeous as this one feature. You could just totally lose yourself, gagging, slurping, licking, softly moaning into them. All you needed to be was a wet, eager hole. You could do that. You could do that fairly well.

Your partner seemed to agree, letting out breathy sighs and grunts as you serviced them. At one point, they pushed on the wall that intercepted you two, trying to get themselves even deeper into your throat. They withdrew from the hole momentarily so they could stuff their balls through. You took the hint and ran your tongue along them, being rewarded with a deep groan. That was all the praise you needed. You figured this wouldn't be a place for small talk, or any talk for that matter. That's why it shocked you when the stranger knocked on the wall and asked,

"Sweetheart, can I come in?"

A rich, sultry voice with a slight accent caught you off guard. You tore yourself off and gasped, choking on your own spit. Drool pooled down your chin and onto your shirt as you coughed. You wondered if they could somehow hear your heartbeat. Adrenaline surged through you. What could you do? What were you supposed to do? Fight? No, they were probably bigger than you. Flight? You didn't exactly want to run, plus if you did, they could easily chase after you. The only remaining option was to freeze, but that wasn't a great choice either.

"It's okay. You don't have to." The stranger pulled his cock out of the hole and tucked it back in his pants. You let go of your breath when you heard the belt again. Okay, good, they weren't gonna force anything. Still, their next move surprised you. Two fingers snuck through the hole and tapped the partition. "I'm guessing this your first time doing this?"

"Yeah..." was all you said, but it was enough. It was enough to tell your partner that you were inexperienced, vulnerable, fresh meat.

The stranger chuckled. "Well, you're doing a great job. I really mean that." His voice was laced with more care than you'd expect to find a place like this, "And I'd like to do more, if you're willing, that is. I'd hate to not return the favor."

More? More than just sucking? More sounded like exactly what you needed right now. It also sounded like the dumbest thing you could possibly ask for. What was the plan for when he found out you didn't have a cock? You didn't have one, but maybe you didn't need one. Maybe he'd be into it. "Don't stick your dick in crazy" was a bit of street smarts you'd picked up over the past few years, but you'd never heard "Don't let crazy stick its dick in you". That was a good enough excuse.

"I mean, I'd like to. It's just... nerves. Sorry. I'm not really sure how this works."

Another laugh from the stranger, gentle, warm, and a little condescending. Fair enough, you were pretty clueless. "Oh, you sound cute. Tell you what. I'll come out and knock on your door. You let me in, and I'll show you how this works. We're gonna have some fun together, alright?"

As stupid as it probably was, it did sound fun. You stood up, pulled your pants back up, and took a deep breath, trying to sound as confident as possible. "Okay... okay, sure..." Nailed it.

Though you couldn't see it, you could hear your partner's smile in his next line. "Good boy."

Oh.

Oh fuck.

You barely had time to let that echo in your empty head before you had another sound intercepting it: a knock on the door. You fiddled with the lock, and cracked the door a tiny bit, taking your first glimpse at your partner. He was way hotter than you were expecting. Tall, dark, and handsome was not an exaggeration by any means. His more defining characteristics were a big bushy mustache and a single sliver streak in the front of his hair. Plus, his floral shirt was unbuttoned just a little more than it probably should've been, just enough to make you salivate.

He could see you through the opening you had made, and he leaned in to get a better look. When his eyes met yours, he smiled. "I was right. You are cute. Still wanna do this, pretty boy?"

Yes. Yes you did. You pushed the door open all the way, letting your partner size you up. His eyes trailed up and down your smaller, curvier form, and he stopped when he got to your spit-covered shirt.

"Oh, sweetheart, look at you! You made a mess of yourself. You were really getting into it, huh? That's adorable." He asked as he breached your enclosure and locked the door behind him. You blushed, and he quickly took note. "Aw, it's okay. Don't be shy, baby." He rested his hands on your hips and fiddled with the bottom of your shirt. "You did a really good job. I'm serious, y'know. Such a good little cocksucker."

Before you knew it was happening, he pulled your shirt off over your head. You panicked, "Wait, wait... I can explain."

Holding your shirt in his hands, your partner backed off to take in the sight of you. He was confused by your hesitation, until he saw your chest. The two thin scars across your pecs caught him by surprise. He squinted at them to get a better look in the low light.

"¿Qué chingado? (What the fuck?)" He stared for a moment until the realization hit. You could see the lightbulb go off in his head when it did. He was interested, more so than before. "Ohhh... Oh, ya veo. (Oh, I see.) You got something I don't, eh?" It wasn't really a question. He knew the answer.

You didn't expect him to know, but you were glad you didn't have to explain. "Y-Yeah..."

He hung your shirt on the hook and grabbed your hips again, pressing his body against yours. He wanted to know more. "You wanna tell me about it or you want me to see it for myself?"

His question went right over your head. All you could think about was how gorgeous he was, and how good his cock felt in your mouth. You spaced out thinking about how good it'd feel somewhere else. Luckily, you snapped out of it once you realized he'd gone quiet. "Sorry, what did you say?"

The stranger chuckled again and leaned down to brush some of your hair away from your ear, ensuring that his words made their mark. "You got an extra hole, don't you, chico?" His other hand snuck between your legs and squeezed your crotch. No bulge, just as he suspected. He snickered. "Is that why you were nervous? Don't be. I like it. Can you show me what I have to work with?" He tilted his head to kiss your neck, and rubbed his hand over your clothed pussy.

You whimpered and held onto his biceps. The stimulation he was giving you was somewhere on the border of "too much" and "no where near enough". Regardless, there were too many layers in the way. You sighed. "Yeah... Yeah, I can... I can do that, just... Just lemme..." Your voice trailed off as you nudged your partner off you and went for your own belt. You backed up against the wall, the most wiggle-room you could get in such a tight space, and dropped your pants and underwear to the floor.

Your partner wolf-whistled at the sight. "Oh, now that's a good boy. You like that?" He reached out to take hold of your neck. "You like showing off for me, huh? You like being a slut?"

"Ah... y-yes..." You whined and squirmed in his grasp. His other hand cupped your bare pussy, slipping some fingers in between your lips and tracing the length of your slit. You were already soaking wet, which only egged him on.

"Aw, how cute! Someone's excited! You do like being a slut! I figured. I mean..." He slid his fingers inside and his thumb stroked your t-dick. Before you could make a sound, he started to choke you. "Why else would you be here, huh?"

He fingered you roughly, wetness splashing against his hand, as he cut off the flow of oxygen to your brain. It allowed him to cloud your mind with desire, to take over your entire being.

He kept interrogating you. "I think I know why you're here. You came here because you needed cock, isn't that right? God didn't give you one, so now you have to go beg strangers for a taste of theirs? Is that it? Are you really that desperate?" He let go of your neck when your face started to change color. "Well, c'mon. Answer me, boy."

You stuttered, but at least you were honest. "Yes! Yes, ah, I need... I need cock... Please... Please, I want your cock, ah..." You stopped begging and your body stiffened. There was a slight problem in your approach. You made it known, "What, uh... What's your name?"

Your partner chortled, a more genuine laugh than his others had been. "Oh, te putito lindo... (Oh, you cute little whore...)" Once he composed himself, he pulled his hand away from your cunt and slid his wet fingers into your mouth. As you sucked him clean, he whispered in your ear again. "You can call me Lalo."

That got another pathetic sound out of you. When he felt that your work was sufficient, he pulled his fingers out. His hand flew to his pants, hastily pulling himself out again. He picked you up by your waist, wrapped your legs around him, and pushed you back into the stall divider. "So, what was that you said? You want what?"

You gripped the back of his shirt and begged once more. "I want your cock... I want your cock, Lalo... Please..."

"How do you want it?"

What? What the hell does that mean? Why was this guy making you solve riddles before fucking you? "W-What do you mean?" you stammered.

Lalo pressed his forehead to yours, his eyes locking with yours. You couldn't look away, let alone run away, and that's just how he liked it. "What I mean is, you want it in that special hole, yeah? You want me to fuck you like that, right? Like the little pussyboy you are?"

It was amazing how someone you had met less than 15 minutes ago could read you like a book. Not only that, but he had read you well enough to write a comprehensive book report about you and your deepest desires. You had never been so hot and bothered. You moaned desperately. "Oh my god, yes! Yes, please y- mmph!"

"Shh... shh... Cállate. Be quiet." Lalo had pressed his hand over your mouth to silence you. His voice was a dark whisper. "You gotta be quiet, okay? You don't want everyone in here to know what we're doing, do you? Or..." While he had you distracted, he used that as an opportunity to slip his cock inside you. "Maybe you do. Whore."

He started to rut his hips into you, fucking you up against the stall. Your nails dug into his shoulders as you mewled and moaned into the palm of his hand. It was good that he had thought to muzzle you, otherwise you'd probably be broadcasting yourself to the whole bar.

"That's it. There we go. I knew you'd like this." He took his hand off your mouth to slap you across the face, the shock and the sting making you squeak like a dog toy, something he found very amusing. "Haha! See? I knew it. Pussyboys like you are all the same. You're all sluts." He replaced his hand with his mouth, forcing his tongue onto yours, aiming to take you for all you were worth. He broke off to continue mocking you, though not before covering your mouth again. "That's okay, though. I like it. I like boys who know what they are. And you, my friend, are the perfect little cocksleeve. You know that, right?”

You couldn’t answer verbally, so instead, you answered physically. You nodded, and your walls contracted around him, spilling liquid pleasure with his every thrust.

Once he felt you leaking, he started laughing. “Oh, nene, ¿qué paso? (Oh, baby, what happened?) It feels too good? You’re just a hot mess, aren’t you?" His breath and his movements got more erratic, and he let out a few noises of his own. "Oh, you're perfect, chiquito. You're perfect for me. I should take you home and keep you for myself. You'd like that, wouldn't you? You'd like being a little sex doll for me? God, I could spend the rest of my life in this tight little hole."

That honestly didn't sound half bad. Actually, it sounded fucking amazing. For now, at least. Maybe the post-nut clarity would change your mind and make you realize that no, you shouldn't indulge a stranger who literally just said he wants to keep you as a sex doll, but maybe it wouldn't be so bad. It surely seemed better than sucking off randos through a wall. You couldn't believe you hit the jackpot on your first night out.

Lalo couldn't believe that he hit the jackpot, too. He had come across the perfect little plaything: a sweet, naïve little boy with a needy little pussy and an insatiable craving for cock. He didn't even know he'd been looking for you until he found you, but now, there was no chance in hell he was letting you go. He already had you right where he wanted, and he thought that if he gave you what you wanted, you'd give him everything else that he wanted. He stopped for a second to reposition himself. Apparently, the new angle was even better. When he started back up, you were practically screaming into his hand. Whatever words and wails of pleasure were completely incoherent, but Lalo knew what they meant.

"Getting close, huh?" He had asked a rhetorical question, and you nodded to confirm his suspicions. "Good boy. Let it all out."

He clamped down on your mouth and slammed into you with all the energy he had, until you finally reached your peak. You clung onto him tightly, stifled sobbing as you squirted onto his pants. He gave you a moment to breathe, but then started right back up, teasing you all the while.

"Hey! You got me all messy! Dirty boy! Oh, you're lucky you're so cute." Lalo took his hand off your mouth so he could grab your waist, though instead of using it as leverage to fuck you even harder, he pulled out and set you on the floor. You were confused by this until he said, "I gotta get you back, though. Can't let you get away with that."

One hand gripped your hair, holding your limp body upright, and the other took care of his own need. The sight in front of you reminded you of how this encounter began: a dick in your face. Up close, yet a lot more personal. Lalo grunted and growled as he stroked himself, and groaned as he came all over your face. Some had gotten in your hair, some in your mouth, but you didn't care. It made you feel desirable.

When Lalo was done, he braced himself against the side of the stall, panting harder than he had in a while. The second he had enough air to speak, he did. "Carajo, chico. (Damn, kid.) You're the best I've had in a while."

He could tell you were out of it, mouth agape, head lulling from side to side, probably dizzy and discombobulated. But, that only made you seem more precious in his eyes. He smiled, knelt down to your level, grabbed your face, and kissed some of the cum off your lips. His next line was exactly what you wanted to hear.

"You're mine now."

[heartlaboratory]

A dark story.

For the thousandth birthday of the High Master, his holy dojo organized an international tournament for all the best fighters in the world. The winner of each category will have the honor to challenge the High Master. Those Who will obtain just a single point against him will earn not only the prize for the category winner but also a "Golden Fighter": a small yet intriguing artifact of great value.

She's one of the most promising fighters in her country. Even if quite young (around 25) she was able to rapidly climb the national classification winning almost all the matches she fought. Obviously she received an invitation for this exclusive match.

"A thousand years old?! To organize a tournament was not enough? He's just an old man. I hate these vetust, pseudo-religious traditions. A single point to win, please... He's going to use his experience to fight with a pure defensive technique; everyone knows that if properly done it's impenetrable. It will be the most boring fight ever". She says loudly while waiting for the definition of the matches.

The tournament starts and during the other matches she keeps complaining about technique defects of the other fighters, made impatient by the slow-paced rhythms of such an old institution, full of very well defined rytuals. Her category will be on the last days of the tournament...

Finally her turn arrives. She seems unstoppable: one after the other, as anyone expected, all her opponents are defeated. Some doesn't even last five minutes (a match has no sets, it lasts till one fighter is no more able to keep fighting). She's with no doubt the winner of her category and probably one of the best fighters seen in the whole tournament.

After a day of rest and ceremonies the last duel begins. Each winner of the previous phase will fight against the High Master to win the "Golden Fighter". Surprisingly for her all the other Champions decide to accept a defeat by default to honor the High Master as a sign of respect to his indubitable superiority.

"Well, at least this farce will end quickly". She says while reaching the center of the ring.

The High Master is a small and quite thin old man with no hair but a very long and white beard. For the entire tournament he had a genuine smile on his face, the same smile he has while reaching (quite slowly) the center of the ring.

The match starts and exactly as she foresaw the High Master keeps a pure defensive technique. She jumps up and down blowing fists, kicking, running here and there on the ring trying to be unpredictable but for each of her moves the High Master simply protect himself with another defensive move. The more minutes pass of this sensless thing the angrier she gets. It is tradition that under the judoji fighters must wear nothing so that they can't secretly bring a weapon to the fight. After more then an hour of constant fast moving, her suit is almost completely unfastened and literally anyone can see her bare chest. She's quite skinny being adapted to sustained efforts ("you need technique here, not strenghth" she always says). After all this time with no rest at all though she's exhausted and through her rib cage anyone can easily see her heart thumping like hell while she's breathing really heavily. She doesn't care at all, she's red with rage.

"AT LEAST TRY" she shouts while launching a prohibited technique against her opponent. The High Master takes the hit and for an instant one could say to have seen him staggering.

"Oh well, if you want to be hit you have to know that your body shape Is perfect for me to see all your anatomical landmarks. I don't even have to guess where to hit you". The High Master says and a shadow of fear arise in her mind: what he's refereing to? But there's no time to think, the forbidden move seems to have given the wanted result: there's an opening in his defence on the right. This is a perfect occasion for a left fist to hit the High Master, earn the point and finish this never ending fight.

She blows the fist and... It was like a flash: with his right arm the High Master deviates her fist and counterattacks. His hand is now opened facing the ground with the palm, moving almost at the speed of sound towards her left side chest. His fingers touch her skin in her third intercostal space. In that exact moment her third and fourth ribs are displaced from her sternum to make enough space for his hand. Her skin and her intercostal muscle can do nothing but break while his hand enters in her mediastinum. His fingers wrap that strong muscle they've found in the center of her chest, while he clearly feels how fast it was beating. He tighten the grip so strongly her heartstrings brake and her heart valves literally explode. As fast as his hand entered her chest now it lives it carrying out her poor heart, ripping it off from all the veins and arteries and all the other support structures.

"Why is my vision going black? Why I feel so heavy? Why I can't breathe? I'm in a very good shape... Does anyone opened the door? I feel so cold... Why is he holding a red peach on his hand?" She keeps thinking between herself in total confusion with her energies quickly leaving her body. His secret move was so quick she was almost unaware of it.

"I can accept your continuous offenses against me and this tournament but I can't tolerate your desecrating my holy temple with a prohibited move. That's why I took your heart".

Desperatly and noisily gasping, her green eyes go terrified to what once was her heart now fibrillating in the High Master's hand. One last gasp and while becoming purple she collapses life-less on the floor.

The High Master throws her heart at her, hitting her chest and says: "Put it back if you can or learn the value of respect in your next life". He turns his back to her body and goes away.

[richrdjones]

Mastering 3D Modeling: Expert Solutions to Complex Assignments

Welcome to our domain of expertise, where precision meets creativity, and challenges transform into triumphs. At SolidWorksAssignmentHelp.com, we pride ourselves on being the beacon of guidance for students navigating the intricate realm of 3D modeling. Our mission is simple yet profound: to offer the Best 3D Modeling Assignment Help Online, equipping aspiring designers and engineers with the tools they need to excel.

Today, we delve into the depths of two master-level 3D modeling questions, providing comprehensive solutions crafted by our seasoned experts. These challenges epitomize the complexity and nuance inherent in the world of three-dimensional design, demanding a blend of technical prowess and artistic vision to conquer.

Question 1: Designing a Complex Mechanical Assembly

Imagine you're tasked with modeling a sophisticated mechanical assembly comprising intricate components with precise interlocking mechanisms. Your goal is to create a fully functional representation of the assembly, allowing for realistic movement and interaction between parts.

Solution:

To tackle this challenge effectively, we employ a systematic approach, breaking down the assembly into individual components before integrating them seamlessly. Utilizing SolidWorks, our preferred software for 3D modeling, we start by sketching the basic outlines of each part, paying close attention to dimensions and tolerances.

Next, we proceed to extrude and revolve these sketches to give them depth and form. For complex components, such as gears or cams, we leverage advanced features like lofting and swept cuts to achieve the desired shapes. Assembling the parts involves employing mate relationships judiciously, ensuring proper alignment and movement constraints.

Through meticulous iteration and refinement, we fine-tune the assembly, testing each component's functionality and addressing any discrepancies or interference. Finally, we add realistic textures and appearances to enhance visual fidelity, culminating in a stunning rendition of the mechanical marvel.

Question 2: Sculpting a Lifelike Character Model

In this challenge, you're tasked with sculpting a lifelike character model, imbued with personality and depth. The emphasis lies not only on anatomical accuracy but also on conveying emotion and expression through the subtle nuances of form and gesture.

Solution:

Embarking on this creative journey, we leverage the power of digital sculpting tools like ZBrush to breathe life into our character. We begin by blocking out the basic proportions, establishing the skeletal framework upon which we'll build intricate detail.

Layer by layer, we sculpt the finer features of the character, paying meticulous attention to anatomical landmarks and surface contours. Employing techniques such as dynamesh and subdivision sculpting, we refine the model's form, adding depth and definition to muscles, facial features, and clothing folds.

But our focus extends beyond mere anatomy; we strive to capture the essence of our character's personality through subtle cues and expressions. Whether it's a wry smile, furrowed brow, or quizzical glance, each detail contributes to the narrative richness of the model.

To further enhance realism, we incorporate texturing and shading techniques, adding depth and dimensionality to the surface. Through the judicious use of materials and lighting, we create a visual narrative that invites the viewer to engage with the character on a profound emotional level.

In conclusion, mastering the art of 3D modeling requires more than just technical proficiency; it demands a blend of skill, creativity, and intuition. At SolidWorksAssignmentHelp.com, we're committed to empowering students with the knowledge and expertise they need to excel in this dynamic field. With our guidance, you can navigate even the most challenging assignments with confidence and finesse. Experience the difference today and unlock your full potential in the world of 3D modeling.

[persephoneflouwers]

Hello, here to inform you there’s a part of the human body called Angle of Louis, and I’m quite obsessed with it because the tattoo

«The angle of Louis is the eponymous name given to the sternal angle which is the palpable anatomical feature formed from the manubriosternal junction. The sternal angle (of Louis) is the angle between the manubrium and body of the sternum; it is located 5 cm inferior to jugular notch at the level of the 2nd costal cartilage; thus, it is a useful landmark for rib counting since the first rib is difficult to feel.»

Also just noticed his the H of his it is what it is tattoo is right on his Angle of Louis 🥲

[blissmissabi]

The Rise of Augmented Reality in Everyday Life

Augmented Reality (AR) is a transformative technology that superimposes digital information onto the real world, enhancing our perception of reality. Unlike Virtual Reality (VR), which creates an entirely immersive virtual environment, AR overlays digital elements—such as images, sounds, or text—onto our physical surroundings using devices like smartphones, tablets, or AR glasses.

Present-day Uses of AR Augmented reality (AR) is altering how we interact with technology and the world around us by making substantial breakthroughs across multiple fields.

Retail: AR is being used by retailers to improve the in-store experience. Customers may see how makeup, accessories, and clothing will appear on them without having to visit a store by using virtual try-on apps. One example is the AR app from IKEA, which allows users to see how furniture would fit and appear in their houses.

Healthcare: AR is being used in healthcare to help with medical training and complicated procedures. During procedures, surgeons can access real-time data and 3D organ renderings with AR glasses, which will increase accuracy and improve results.

Education: By increasing interaction and engagement, augmented reality is revolutionizing the way people learn. By allowing students to investigate 3D replicas of historical sites, the solar system, or anatomical structures, they may make abstract ideas come to life.

Entertainment: AR has been warmly welcomed by the entertainment sector. Augmented reality (AR) is giving consumers new experiences in everything from immersive movie advertising to apps like Pokémon Go that mix virtual characters with actual locales.

Improving Social Media and Mobile App User Experiences AR features are being added to mobile apps and social media platforms more often to draw consumers in. AR filters are a feature of Instagram and Snapchat that enhance images and videos with fun, animated effects, encouraging user creativity and interaction. With the use of augmented reality (AR) apps like Google Lens, users can quickly get information about items, landmarks, and other subjects by pointing the camera of their phone at objects.

Effects on Marketing and Advertising Plans Through the creation of immersive, interactive campaigns that grab consumers' attention, augmented reality is transforming marketing and advertising. Through gamified marketing, interactive advertisements, and virtual product demos, brands are utilizing augmented reality to increase engagement and conversion. For instance, Pepsi's augmented reality bus stop campaign left a lasting impression by delighting onlookers with lifelike digital animations.

Prospects & Development Trends for AR in the Future The development of augmented reality (AR) is expected to continue due to ongoing technological developments. AR experiences will be improved, becoming more smooth and accessible with advancements in AR glasses, computing power, and AI integration. We may anticipate that augmented reality (AR) will revolutionize a number of businesses and how we communicate with one another.

Conclution The emergence of augmented reality is evidence of the infinite applications of technology. AR is changing our daily experiences in a variety of ways, from improving healthcare and retail to transforming education and entertainment. As augmented reality develops, it promises to usher in a day where the virtual and real worlds coexist peacefully, presenting countless chances for creativity and interaction.

[a-dragons-journal]

I had a thought and looked up some images and I feel like I should share. Even though I switch frequently between bird-shifts and dragon-shifts, my wings actually don’t move any lower on my back during dragon shifts, just tighter together at the shoulder-joint. I actually have a really hard time visualising my wings as being any lower, and that compelled me to look up some bird and bat wing images to see if I could find a reason behind the comfort of my wings sitting directly on top of my arms’ wide shoulder blades when, logically (I thought), they shouldn’t even fit there. And I discovered that birds’ and even bats’ shoulder blades don’t look anything like reptiles’ or non-flying mammals’ scapulae!

So considering that birds and even bats have wing scapulae that are longer and much thinner than arm/frontal leg scapulae in mammals and reptiles, do you think that a pair of wings could actually attach above arm/front leg scapulae on most dragons without causing space problems on the skeletal structure? They’re perfectly comfortable where they are on me. Of course, every dragon is different, but all those anatomy posts I’ve seen trying to make sense of wing placement on a six-limbed flying creature now seem like they’re over-complicating things a bit.

I feel like there's a problem here with range of motion - even if they fit perfectly when at rest, the range of motion of a wing shoulder is necessarily huge, and I'm pretty confident that if you put the wing scapulae right between the foreleg scapulae, you're not going to be able to actually use the wing.

(Source)

This is a diagram of a bat's scapular range of motion from the front (I couldn't find a similar one for birds, though I admittedly didn't spend a ton of time looking, but I would imagine they're similar). Only the muscles are labeled in this in the original image, but I've marked the scapulae with red arrows. If you had a second pair of scapulae for the forelegs directly lateral to the wing scapulae, you would lose almost half of this range of motion because it would get physically blocked by the second scapula pair, which I'm willing to bet would ground you.

That being said, there might be a bunch of other reasons for why you experience shifts the way you do - your brain may determine wing placement based on the length of the spine or other physical landmarks instead of basing it on the placement of your shoulders, or your world's evolutionary tree may have produced an entirely different physiology that allows for that seemingly illogical placement somehow, or your brain may just plain be mismapping it because really, trying to map the proportions of a dragon onto a human frame is already an impossible task. All I can say is that by the anatomical and physiological laws of animals of this world, I'm pretty confident that setup wouldn't work - who the fuck knows what's going on on your world to make it work for you. (And that's all assuming you even believe in a "your world" and a literal physical existence of your species somewhere to begin with - I don't know your explanation for your draconity, so that's not necessarily the case, and in that case who cares if it works with physical anatomy?)

[thomasturnerillustration]

Good Morning!! I'm very excited - this is a benchmark for a project I'm planning for next year when I'm teaching exclusively middleschool or high school <3 It's based around self-portraiture, SEL foundations, and animation industry pipeline production standards!! (If you want what follows is pulled directly from my unit lesson plan :) )

Why Teach the Students This/Why teach the Students this Now

   In terms of narrative art, no matter the actual species or make of the main characters, being able to differentiate and visually describe a wide variety of true, deeply felt human emotion is key to engaging storytelling. As students grow older, the stories they desire to tell deepen, necessitating not only the anatomical knowledge, work flows (guidelines, landmarking, undersketching), and technical skills (being able to create a wide array of skintones, hair textures, etc.) but a larger knowledge base surrounding depicting emotion. This project endeavors to give the base tools to creating that pool of knowledge, as well as showing students how to create quick references for themselves using nothing but their own acting abilities and a mirror or a camera.

   In terms of Social Emotional Learning, being able to describe, recognize, and name the emotions and physical sensations that underpin one’s emotions is invaluable at any age. Learning how to identify emotions past the base “happy, mad, sad, bad, scared” allows a person to actually deal with the emotion they’re currently feeling. For example, if you know you feel “bad” but can’t pinpoint what “bad” means, you can’t help yourself fix it. You can fix “tired” with sleep, food, and rest, you can fix “stressed” with chunking out responsibilities into a planned schedule, talking to a friend, or exercising, but you can’t fix plain “bad”. 

   Additionally, recognizing that one’s socialization plays into emotional expression can help a person make sense of how and why different people express their emotions in different ways. This helps not only on an interpersonal basis, but on a character design and visual narrative means as well. Not all the characters in a comic, illustration, or animation should react the same way to the same situational stimuli - their reactions should help give the audience insight into what kinds of lives they’ve lived, the people they’ve known/interacted with, how they perceive themselves, and how their society has treated them. This project aims to expand students' awareness of their own and others’ emotional realities while providing an opportunity to practice basic facial drawing skills that culminates in a tangible goal of creating an industry standard object: an expression model sheet.

[pwlanier]

A Clastic anatomical model of the human uterus and embryo at one month gestation, unsigned but by the Auzoux Company in France, early 20th century.

paper mache, plaster, ink

A finely detailed 7 x 3 in. polychrome hand-painted papier mâché and plaster model depicting a human uterus complete with cervix, fallopian tubes, and ovaries, opening with hinged panel to reveal a human embryo at one month gestation with umbilical cord within amniotic cavity, complete with uterine musculature and blood vessels, placental villi, chorionic cavity and chorion frondosum. Anatomical landmarks numbered with applied circular labels.

Sotheby’s