[ID: Digital Mob Psycho 100 art. The 1st is of Hanazawa Teruki, wearing a pale shirt with yellow squiggle patterns, a multi-colored bowtie, multi-colored pants and purple sneakers with star shoelaces. He has an owl themed cross-body purse and a casual disposition against a pastel, star-sprinkled background. Next, Kageyama Ritsu and Suzuki Shou are depicted as older teens, posing against a dark background. Ritsu is wearing a leather jacket and green tshirt, while Shou sports a dark tshirt with an abstract logo and checkered sneakers. They have matching utensil earrings, Ritsu's left ear having spoon and Shou's right having a fork. Next is Serizawa Katsuya and Kurata Tome waving while dressed for cold weather, Serizawa bundled in the outfit he wore in the Hotspring OVA while Tome wears her getup from Season 3, episode 8. The final image is a comic referencing recent official MP100 artwork (from June 13, 2024), with all the characters still wearing their new outfits. Reigen, facing away from everyone with a cocked hip and smirk, declares, "I have never been less straight", while Ritsu and Mob look at the photo taken of the four. Ritsu questions, "Why am I here", with Mob responding, "Mom needs new photos for Christmas cards", and Ritsu counters, "It's June". Serizawa and Dimple, on the far right, stand awkwardly while Serizawa asks, "Ok but why am I here", with Dimple responding, "Because if your boyfriend doesn't get to see you in gay little outfits he'll have a conniption and die". End ID]
Morb Cycle 100 my beloved
(Last drawing is in reference to ->this<- official art)
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Don't forget, help Palestine:
-> arab.org <- Click once a day for free
-> gazaesims.com <- Instructs how to donate esims
-> gazafunds.com <- Randomly selects a fundraiser for you to support
-> Fundraiser spreadsheet <- Lists Gazan fundraisers
-> Operation Olive Branch Spreadsheet <- Lists other ways to support
-> Resource link google doc <- Has tons of information and links
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Bakugou who makes it a habit of FaceTiming you out of the blue because he’s horny. Your friend group and his own have had to bear witness entirely too many times to answering the phone and he’s exposed somehow—they always just wanna say hi, ask him how his recent mission is going. They learn after enough times, that when he FaceTimes you out of the blue, to steer clear of your phone until you give them the okay. there’s just been too many times with you answering and then screaming to the top of your lungs as you clutch the phone to your chest and tell him that there are people around.
but does that stop him? of course not, the little whore. he’ll call you after he’s gotten out the shower, so his body is still wet and glistening. he’ll call you while he’s away in some other country, with his dick in the camera and a pout on his lips because he misses your stupid face. he’ll call when he’s this close to orgasming, because seeing you will always push him over the edge.
he calls you one day while you’re working at home, typing away at your computer, your phone propped up beside you. you answer without looking at him, smiling, asking how everything’s going so far and it’s not until you look up, when you gasp.
“Katsuki!” You yell, a little giggle tearing through your words in surprise. “What if someone was around? Again?” You ask him, but it’s hard to remember why you’re this upset when he looks so pretty in front of you. He grunts, still jerking his cock as he sits on the edge of the bed, his phone propped up on what you believe a nightstand, as you can see the way his stomach curls in from how raggedly he breathed.
“You’re alone, right?” He asks in a huff, eyebrows screwing up as he takes in your wide eyes and slightly gaping mouth as you stare at his form. You nod absentmindedly, already feeling your inner thighs starting to get slick, shifting a little in your seat.
“Show me a tit, or something. I miss you.” Bakugou mutters, eyebrows pinched as he twists his wrist over his tip before he slides back down his shaft.
“When don’t you wanna see my tits?” You tease him, but oblige, lifting your shirt, eyes rolling slightly at the downright filthy noise that leaves his mouth at the sight. You don’t even have to play with them, just sit them on display and he’s already so quick to burst all over himself.
You take it a step further though, pushing back in your chair until he can see most of your body where you sit, slipping out of your bottoms and underwear until you’re on display for him. You put your knees to your chest before settling back, thighs on either side of the arms as you spread yourself, smiling at him all the while.
“So fuckin’—shit!” He sounds damn near strangled as he cums all over himself, eyes squeezed shut as he jerks at his cock. you can’t help but laugh when you hear the crackling of his quirk going off, watch how the sheets beside him char and start to smoke in his intensity. He’s always so easy, you think to yourself with a little laugh as you began to get dressed, and you love it.
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Hi, how did you learn to draw Steve's physique?
Ohh what a complicated thing to answer...
When it comes to how I learned to draw anything, it's hard to say anything too specific since it's always a culmination of many years of assorted study and practice... but I can try to do my best to explain some of the biggest things that helped me learn, some tips I keep in mind, and maybe at least some places to start/delve further.
(just a little disclaimer it's not like my drawings here are going to be 100% medically accurate.. they're just to illustrate concepts!)
The main thing about learning various physiques is understanding anatomy. Which feels obvious, but I don't mean proportions; these are important, but perhaps more important is understanding the skeleton and how it moves and learning where muscles connect to bones and where fat grows on the body. When you understand how these function on a more mechanical level, depicting form and movement in a way that feels natural comes in tow.
For instance, understanding things like the pronation and supination of the radius and ulna, as well as the fact that muscles can ONLY contract or relax, will help you understand a bit better which muscles will be flexed and which will not while someone moves. It's inherent to the positioning based on the structural makeup of the body... It's not like you NEED to memorize all the muscles and bones, of course, but understanding and gaining at least a passive familiarity with the concepts really helps.
In tandem with this concept is the way parts of the body flow into eachother. Muscles ALWAYS come in groups because they can only contract. Whatever muscle is there to lift something, there is a muscle on the other side to pull that bone back down. What this results in is a series of straight edges next to curves, which gives us a lot of really lovely "s curves" and dents and folds and so on and so forth just naturally occurring.
I would suggest at least learning the "bony landmarks", which are bones (usually) visible on the surface of the body. things like the iliac crest, the great trochanter, the 7th vertabrae, the acromion process... These can be used to help you understand the parts of the body as angles and relationships, rather than trying to remember lengths and sizes, which vary immensely... (since you asked about steve, he can be our model... also study these on your own don't just take my word for it haha, these are the ones I personally keep in mind)
I've done the same thing with body hair... learning where it grows and in which directions... It helps me make up variations without needing reference, because I have a set of rules I can follow.
The biggest thing that helped me understand all this on a much deeper level was my ecorche course. I sculpted this guy. We started by sculpting the entire skeleton to understand the bones, and then we added muscles on top. Not every single muscle, of course, but the "artistic muscles" AKA the ones which directly affect the surface of the body. Doing this let us see where muscles connect, because we would make a shape, put it on the bone where it actually goes, and then you get to see how other muscles overlap that.
This helped me, perhaps, more than anything else. But I also didn't just start with this course, I had been drawing for years before I even took it. I had been in school for years before I took it. Not that I think it wouldn't be helpful to someone just starting out, but I do think that the more you know going in, the better an in-depth course like this will help you and stick with you. Classes are also expensive, though so I'm not really like... recommending you pay potentially thousands of dollars to take one... But it did help me a lot, personally.
I also, of course, have done many figure, gesture, and master studies...
These just help you quickly gain a stronger understanding of generalized anatomy, and gives you real life examples of and practice with of how people move and balance.
What all this does when combined, is gives me a very solid ability to depict movement and form in a way that feels relatively natural from my subconscious without the need for reference.
The rest of how I've learned to draw his physique is honestly mostly just stylization. I understand the body, and this is how I am depicting it for his level of musculature.
And as I move into depicting him in other ways, either moving in comics or in animation, realistically rendered, or extra stylized, these concepts inform every step of that process for me! When he keeps the same/similar relationships between parts, he gets to still look like himself.
It ALSO really helps when putting clothes on, because the way cloth falls and bunches and lifts is all directly related to the form it is on... So the more you understand that form, the more you can depict clothing and movement in a way that feels natural.
This is all, of course, true when I draw anyone, you asked about Steve so I'm trying to mostly show with him! But because I'm just drawing from raw information of general anatomy rather than trying to study one body type at a time, it allows a lot more "give," I think!
Like, here's most of the cast from TTA so far... actually, they're not as varied as I thought they were nevermind LMAO ignore this part
But, it also makes monster and alien design much easier! It's a lot easier to come up with non-human anatomy when I understand human anatomy, because I can manipulate the knowledge I have...
There is infinite more to study in the world of anatomy... The complexity of the human body goes extremely deep. For our purposes as artists, we need only depict a fraction of it, but more information rarely hurts the process.
I'm sure there's something in here that's wrong on a technical level, I'm mostly going off of memory. But that's kind of my point - I understand enough generally and conceptually that when I am missing something and need to find reference for it, I understand what I'm looking at. It's much easier than trying to learn AND draw at the same time.
I hope even one thing in here helped you! Sorry it's so long.
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