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Hello! When I build my character designs, I try and abide by silhouette readability, which, for the most part, involves the incorporation of negative space and shape exaggeration within the figure.

My base sketches always start from the head, though, this is more of a preference rather than applicable advice! For me, using the head as an anchor point makes it a bit easier to pose the rest of the figure, as the position of the head usually coincides with the facing of the body. As always, looking at references for this part (or any of the later steps) can be really helpful in figuring out how you want to convey the mood or idea of your character to the audience. Following a line of action when drawing can really help push for stronger, more energetic poses. One way of doing this can be making a rough base sketch and then going over it to try and find the line of action. If you arent satisfied with that line as it is, exaggerating it can help push the characters pose further, allowing for more energetic/dynamic poses.

Notably, both soft and hard edges are used in this design, with a clear and cut contrast between the upper and lower portion of the character. The connecting pieces, being the arms and legs respectively, are slimmer in order to further emphasize the surrounding shapes.

I try to usually keep my own designs relatively balanced, one example being my use of formulaic top-heavy, bottom-heavy, or a balanced mix of both (heavy top, lighter middle, and heavy bottom) character designs. This means that the shape language of the character is exaggerated more excessively in one area while the surrounding design is toned down in order to avoid oversaturation. Doing this allows the rest of the design to better compliment and support the focal area of the characters visual look.

(two examples of designs I've made that I consider to be more top-heavy)

When it comes to the actual making of my character designs, however, theres multiple key ideas I try to keep in mind during my process.

First off, because I want to convey this characters connection to their pokemon, I tried to purposefully involve shape and symbol repetition throughout the entire design. Scizor's rounded, recognizable claw shape is echoed in the helmet, and similarly repeated is the eye-like symbol in shoulder pauldrons, and chest plate. (the helmet symbolism is more recognizable than that of the pauldrons and chest plate, but the repeated symbols on the latter of the two surfaces helps balance the theme of the character). (This is also why the character has three distinct braids, as they are meant to represent Scizors carapace horns)

Moreover, when deciding on clothing and accessories, it's really important to consider the reasoning or practicality of either inclusions to the main design. For example, the metallic pauldrons in this design reference Scizors metal typing, and the large boxy gloves combined with the semi apron are a blacksmith-esque add meant to further maintain that character theme.

Similarly, a good color palette can not only be used for visual appeal, but also as a tool to convey specific concepts, emotions, and/or ideas to the audience about your character. For this drawing, I mostly stuck to a Tetadric color scheme which used reds, greens, blues, and oranges/browns. Making red a more dominant color in the design helped strengthen the visual connection between Scizor and my character without having to make changes to the outfit/build itself. I'll list some examples of color palettes below if you're interested in them! They can be super helpful when putting together a scheme for your character.

I’m trying to get better at art, I was wondering how long it took you to master perspective? I saw the post where you showed how you colored, but I’m confused about how you make your art seem 3D in the first place. You seem like a professional so I wanted to ask you.

Hello! I honestly neglected, if not avoided, any sort of perspective practice in my earlier years of art. Once I started doing background art, however, I saw to it that perspective practice became a consistent avenue of study for me. I'd say that it took me around 5 years of perspective practice for me to really feel confident with my background work.

As for how I make my art seem 3D, I'll start off with an overview of the fundamentals and then list one of the tools I use in my program (Clip Studio Paint) which helps save time without sacrificing accuracy.

Fundamentals

To start off, perspective can be roughly broken down into three main terms: Vanishing points, Orthogonal lines, and the Horizon line. I personally always start with the Horizon line when doing backgrounds. This is because the Horizon line is representative of the viewers eye level, and furthermore, the baseline from which the Vanishing points and Orthogonal lines will stem from. The Vanishing points, or convergence points, are the marker from where the Orthogonal lines interesct. Finally, Orthogonal lines are used to create the illusion of depth within a drawing. Having a cohesive composition and perspective are largely attributed to the use of Orthogonal lines.

For example, I've gone ahead and highlighted the Horizon line, Orthogonal lines, and Vanishing points in my most recent project.

I have one Horizon line with two Vanishing points. The composition's cohesion is attributed to the Orthogonal line's convergence points (Vanishing points) meeting at the same eye level (Horizon line).

It can be a bit annoying to keep track of all these things while drawing, so a tool I use to help alleviate this issue is the Clip Studio Paint perspective ruler.

You can access it through the layer task bar at the top of your program (I think it is the top for everybody, but I am not entirely sure how the layout looks for everybody else). This ruler is a moveable Horizon line with a built in Vanishing point and adjustable Orthogonal lines. It can be really helpful when putting together quick drawing outlays, and it's something I use for every single one of my backgrounds.

Additionally, I wasn't sure if your question was entirely perspective focused, so just in case, I put together some examples of lighting tips for creating 3D looking art.

Lighting/Shadows

*Lighting, example 1

*Lighting, Example 2

*Reflective lighting (secondary light source), example 1

I'll also link a video with a more in depth explanation for this here

the elf I just hooked up with, taking the lavender and honeysuckle lollipop from their mouth: An infinite scroll... most elfmaidens learn to enchant a scroll to never end before they're a mere 300 years old. It saves on paper.

me: oh see that's just writing, with social media it's really bad, it just leads to people doomscrolling all day

the elf I just hooked up with, spluttering and panicked: The Doomscroll! Be silent human, thou shoulds't not speak the name of that fell parchment

To 2025:

Hell, they even cover the devastating heaviness of MASS SHOOTINGS without censoring or watering anything down.

They've been doing this for YEARS, and it's ALWAYS handled with dignity, respect, seriousness, understanding, and love.

Or how about when someone is put into the foster care system because their home isn't safe anymore and their needs aren't being met?

Maybe some discussions about group therapy/getting help and support?

Hey look! Here's a segment about gender expression vs taught expectation, including unlearning harmful biases and what to do when you hurt someone on accident because you didn't know it was wrong!

Look! The topic of race and diversity! The importance of unity and equity!

They even also have a more allegorical take on discrimination and being looked down on for who you are, featuring Big Bird. The conflict is about how he's not being let into a club because the one bird running the club personally decided he didn't want someone like Big Bird there.

Big Bird goes out of his way to keep changing parts of himself in order to "prove" he can fit into this club if he just changed enough. The truth comes out though, and there's nothing he can do to gain the approval of that bird. He will never be good enough in his eyes, and Big Bird starts to hate himself. His real friends see this finally put their feet down, emphasizing that you should never change yourself just to fit into one singular narrow idea someone else has.

There's A LOT of different situations this can be an allegory for. Racism, sexism, homophobia, basically ANY form of exclusion is put on full blast in this 15 minute clip. Sesame Street can be both blunt and allegorical when approaching difficult topics, and it NEVER misses or looses the point.

It does an exceptional job in both styles of representation WITHOUT watering anything down. The more sanitized everything gets, the more radical Sesame Street is suddenly considered, hence why so many "particular groups" want it gone. Hmmm! I can only imagine why that could be, in this current political climate! (I'm being sarcastic)

When Sesame Street is suddenly labeled as "questionable" or "politically/agenda motivated" content...it says A LOT about where we currently are and who gets to decide what's "best" for kids or not. Don't fall for the censorship and topic-dodging excuses that are covered by the "But think of the children!!!" movement. Never fall for it, because you know which side you're on if you do.

Sesame Street proves kids can be taught and trusted with learning about these topics when it's handled with the right amount of understanding and care. It shows what all this "controversy" is all really about. What it's always been about, actually.

You WILL love this person. It doesn't matter who you loved before; any feelings you had, any promises you made, they will become inconsequential as soon as you lock eyes with the stranger Fate has picked for you.

There's no way to stop it.

There's no way to say "no."

You will meet someone and with a single glance, both of you will become someone new, someone who's now bound to this stranger whether you like it or not, want it or not.