The positions are divided according to their level of difficulty :

• Beginner
• Confirmed
• Expert
• Elite

Each position listed is described and illustrated.This tutorial is made to complete your sexual education and spice your sex life.

Our Kamehasutra will end on a chapter consisting of Oral Sex.

Nota Bene : All the positions can be enlarged by clicking the pictures.

1) Beginner Positions

Δ The Elephant

Art by Lara Yokoshima

Description :

The catcher/uke lies down on his stomach and spreads out his legs. The pitcher/seme lies down between the catcher/uke’s legs. After doing that, the pitcher/seme shoves his penis into the asshole while using his arm to prop himself up on the ground (so as not to place weight on the partner).

Tips :

The catcher/uke should prop his head against his partner’s neck to increase the sensuality. By arching his back (either more or less), the catcher/uke can affect the sensations and their intensity. He can squeeze his own buttocks to make intercourse more intense.

Upsides :

This posture allows for more body contact than usual. It allows many variations so that the pitcher/seme can efficiently please and stimulate his partner.

Downsides :

The two men don’t see each other, cutting out “caressing”.

Δ The Missionary

Art by Fablespinner

Description :

The catcher/uke lies down on his back. His partner moves to touch his chest against the catcher/uke’s. The pitcher/seme lies between the catcher/uke’s legs and inserts his penis into the anus.

Tips :

To use the position to its greatest potential (deeper penetration and pleasure), the catcher/uke should bend his knees to bring them up to his own shoulders.

Upsides :

This posture allows for more body contact than usual. Face to face, they can see each other and embrace one another with ease.

Downsides :

This isn’t a good position for large people (aka, fat).

Δ The Andromache

Art by Peruggine

Description :

The pitcher/seme starts off lying on his back with his legs slightly apart. The catcher/uke is on his knees, straddling the pitcher/seme’s mid-drift, torso (upper body) upright. He is on top of the pitcher/seme.

Tips :

The pitcher/seme should be sure to keep track of what the catcher/uke does in this particular position. If they’re not careful and make quick movements, they could accidentally bend the other’s penis and cause pain.

The pitcher/seme has the ability, in this position, to caress and stimulate the catcher/uke’s penis. This is best when wishing to increase the pleasure and sensation for him. If this position is simply not enough, the catcher/uke can be placed in the squatting position instead of kneeling.

The pitcher/seme can caress the known erogenous zones (scrotum, abs…) of his partner to add to his own enjoyment.

Upsides :

Since the pitcher/seme is lying on his back, the catcher/uke has easy access to all of his partner’s erogenous zones as well as the ability to caress and stimulate in other ways. Both lovers can move freely (catcher/uke more than pitcher/seme).

Downsides :

The current position places strains on the thigh muscles. Depending on the angle’s penetration, this position may be uncomfortable for the pitcher/seme.

Δ The Greyhound

Art by Peruggine and Fablespinner

Description :

To begin, the catcher/uke is on all his hands and knees, butt in the air. The pitcher/seme places himself right behind his partner, kneeling between the catcher/uke’s legs to penetrate him.

Tips :

The pitcher/seme can put his arms around the catcher/uke and press his torso against the catcher/uke’s back. This will increase the contact area from the anus to the upper body.

The pitcher/seme has access to his partner’s penis and can caress it to further increase the catcher/uke’s pleasure.

To place less strain on the catcher/uke, he can rest on his elbows instead of relying on his hands. This will modify the angle of penetration and allow the pitcher/seme more possible chances to intensify the sensation.

If wishing to pleasure his partner, the pitcher/seme can reach one arm between his legs and take hold of his catcher/uke’s penis.

Upsides :

The two partners do not face each other, which is both a good and bad for this position (no eye contact and less intimate); however, both catcher/uke and pitcher/seme are allotted excitation and the possibility of exacerbating fantasies.

This pose allows for strong and deep penetration, heightening sensations for both partners. This pose is ideal for large (fat) people.

Downsides :

Penetration may be too deep/vigorous for catcher/uke. Possible pain.

2) Confirmed Positions

Δ The Oyster

Art by P.L.Nunn

Description :

To start this sex position, the catcher/uke will lie on his back. Then tuck his legs up against his stomach. The pitcher/seme then takes a kneeling position, spreading the catcher/uke’s legs to place his penis and torso between them and penetrate the catcher/uke.

Tips :

To balance and maintain control while thrusting into his partner, the pitcher/seme should firmly hold the thighs of his partner. If wishing to increase sexual arousal, the pitcher/seme has access to the catcher/uke’s penis and can caress and stimulate it. His other erogenous zones are also available (abs, nipples etc…).

The catcher/uke can also change the sensations and the intensity of intercourse by arching his back either backward or forward.

Upsides :

Position allows for face-to-face interaction and may excite both partners. The oyster position allows deep penetration, which ensures intensity of sex.

Downsides :

May be too deep a penetration for catcher/uke to handle, use caution with sexual activity. The catcher/uke also has little freedom of movement.

Δ The Spoons

Art by Heyohwhoa

Description :

The catcher/uke lies on his side, legs slightly tuck in toward his stomach. The pitcher/seme stands behind his partner, pressing his chest against the catcher/uke’s back. The catcher/uke then curves his body back to allow the pitcher/seme to easily penetrate him from behind.

Tips :

The pitcher/seme should take advantage of this slow paced position to learn control his ejaculation. Be sure not to forget that the neck is a very sensitive area in general for most males. While the pitcher/seme caresses his partner, he may also brush the catcher/uke’s neck to further stimulate his partner.

The pitcher/seme has access to the catcher/uke’s penis and may increase pleasure, if he desires. Likewise, if the catcher/uke wishes to increase the pitcher/seme’s desire, he can guide the other’s hands towards his most sensitive area.

To increase the pleasure between the two partners, the catcher/uke should offer the nape of his neck by leaning it to the side and caressing the pitcher/seme’s buttock while he does so.

If the pitcher/seme is too busy, the catcher/uke may also touch his own penis to heighten excitement and pleasure.

Upsides :

This particular position allows for a large amount of body contact. It’s very affectionate and sensual, which is ideal for sex without much movement in the bed. This pose is also great for relaxing or for large (fat) people.

Downsides :

The movements allowed are slow and can lengthen the time it takes to reach climax. It is also possible that pleasure may diminish. The back position may hinder sexual play.

Δ The Anvil

Art by Peruggine

Description :

The catcher/uke begins by lying on his back, then continuing by shifting his knees as far to his shoulders as possible without strain or injury.

The pitcher/seme will move onto his knees to allow the catcher/uke to rest his feet on the pitcher/seme’s shoulders.

Next, the pitcher/seme will shift his upper body forward so that it touches the catcher/uke’s thighs. The pitcher/seme may then penetrate his partner by using the catcher/uke’s feet and buttock for support.

Tips :

The pitcher/seme should arouse his partner first by stimulating the catcher/uke’s penis and balls with his hands to increase pleasure.

This position should not be done without lubrication to the asshole and stretched to a certain elasticity. Therefore, indulge in foreplay and attempt other positions before continuing onto the anvil position.

Upsides :

This posture allows for strong and deep penetration, which heightens the sensation for both partners. Intense face-to-face interaction and posture meant to be extremely sensual.

Downsides :

This position requires a certain level of flexibility. The catcher/uke will have little to no freedom of movement.

Δ The Octopus

Art by Spubba and Peruggine

Description :

The catcher/uke should lie down on his back with his legs spread out. Then, the pitcher/seme should kneel between the catcher/uke’s spread legs and the pitcher/seme should lift up the catcher/uke’s lower body to rest the buttocks against his midsection.

The catcher/uke’s hips and buttocks should be leaning against the pitcher/seme’s thighs. Penetration should be commenced.

Tips :

Depending on how the pitcher/seme is lifting his partner’s hips and how the catcher/uke arches his back, the angle and depth of penetration will vary. In most cases, it should increase mutual satisfaction.

To further that pleasure, the pitcher/seme should combine thrusting into the anus and caressing his partner’s penis with one of his hands (usually placed somewhat lower than the underarm).

The catcher/uke can surprise his partner by stroking the pitcher/seme’s thighs, elbow, and other erogenous zones within his reach.

Upsides :

This position allows for vast amounts of body contact, intense face-to-face interaction, and extreme sensations. This posture is very comfortable and not completely movement restrictive.

Downsides :

The catcher/uke should be careful not to arch his back too far or he could hurt himself. Both partners have little freedom of movement in this position.

Δ The Wolf

Art by Peruggine

Description :

This position is fairly simple. First, the catcher/uke bends over so that his bottom is up in the air and his hands are touching the ground (or bed, depending on the surroundings). The pitcher/seme takes his place behind his lover and then proceeds to thrust his hips forward to penetrate.

Tips :

The pitcher/seme can wrap his arm around the catcher/uke’s waist, proceeding to then lean over to press his torso against the catcher/uke’s back to increase the contact between them. The pitcher/seme may also take the chance of this position to stimulate his partner’s penis and balls with his hands, this will increase the catcher/uke’s pleasure.

Depending on the flexibility and choice of the catcher/uke to lean (further or less), he can modify the angle of penetration and rubbing to create more sensual sensations.

To bring ease and prolong the position, the catcher/uke can rest on something for support (stated above “bed, cupboard, desk, vertical support, wall, column, stool, coffee table, etc”).

Upsides :

For this position, both lovers will not see each other (unless they wish to make the position uncomfortable), which is both good and bad. Due to the lack of eye contact and loss of intimacy, it takes away that certain attraction; however, both the catcher/uke and pitcher/seme will be excited and the possibility of fantasies added on for either foreplay or sexual sensations.

This position allows for vigorous and deep penetration to heighten the sensations. This pose is also ideal for large (fat) people.

Downsides :

Penetration may be too deep/vigorous for catcher/uke with a possibility for pain. To perform this position properly, both partners should of the same height or about so.

3) Expert Positions

Δ The Butterfly

Art by Peruggine

Description :

The pitcher/seme begins this particular position by sitting on the bed with his legs slightly apart. The catcher/uke then proceeds to sit on him, face to face, guiding the pitcher/seme’s penis for the penetration.

Both partners tend to lean heavily on their arms and rotate their pelvis in opposite directions. Most of the weight will be placed on the catcher/uke’s body, where they must keep their joints bent and also on the hands.

Tips :

To help your partner’s stability and allow for vigorous movement, the lovers can take hold of each other’s ankles. Also to increase the pleasure of the catcher/uke, the pitcher/seme can use one hand to rub erogenous zones (nipples, legs, penis…).

If they wish to mutually boost the sensations the catcher/uke can combine pelvis rotation (up and down motion) and arch himself further.

The catcher/uke may want to take caution because if he leans backwards too fast, he could accidentally bend the pitcher/seme’s penis and cause pain to the both of them (since the pitcher/seme is inside the catcher/uke).

A possible alternative is not to penetrate the catcher/uke and instead rub bodies together while giving each other a simultaneous handjob.

Upsides :

This position provides various sensations which will increase passion between both men. There is a large amount of body contact available, face-to-face interaction, and the posture makes the position particularly exciting for both partners.

Downsides :

The butterfly is a very athletic posture which requires clear strength and iron muscles if you want to avoid early exhaustion. Caressing is limited and kissing is impossible even for the most flexible of men.

Δ The Tree

Art by Peruggine

Description :

To start this sex position, the catcher/uke will lie down on his back. He should then tuck his legs up against his stomach while the pitcher/seme kneels, spreading the catcher/uke’s legs.

The catcher/uke then starts by placing his foot against the torso of his partner and place his other foot on the side. The pitcher/seme should take the weight while he moves to penetrate him, leaning over and pressing the thigh firmly against his torso.

Tips :

To stabilize the position with the to-and fro movement, the pitcher/seme should hold onto the catcher/uke’s knee and foot firmly. The pitcher/seme should carefully observe his partner’s sighs and synchronise himself with them. Also, the pitcher/seme should use one hand to caress his partner’s body and penis to help him reach climax.

The catcher/uke should also take part in stabilizing and optimizing the sensations by clinging onto his partner’s legs and pull them towards himself. If the catcher/uke simply positions his head on the edge (of the bed/surface), he can increase the comfort of the position.

Upsides :

This pose allows for deep penetration while, at the same time, heightening sensations for both partners. The catcher/uke can playfully squeeze his partner’s penis with his abs to increase the pitcher/seme’s pleasure. Position allows for face-to-face interaction and may excite both partners exponentially.

Downsides :

The penetration may be too deep for the catcher/uke, use caution during sexual activity. This position requires a certain level of flexibility on the catcher/uke’s part. The catcher/uke will have little to no freedom of movement.

Δ The Stem

Art by Peruggine

Description :

To start this sex position, the catcher/uke will lie down on his back. Then he should proceed to tuck his legs up against his stomach. The pitcher/seme should then kneel and spread the catcher/uke’s legs and lift up the pelvis.

The catcher/uke then should slowly lift one of his feet and rest it on the pitcher/seme’s shoulder, next he should take his other foot and let it rest on the opposite forearm of his partner. The pitcher/seme may then penetrate his partner, slightly lifting up the catcher/uke’s ass.

Tips :

To stabilize the position with the to-and fro movement, the pitcher/seme should hold onto the catcher/uke’s thighs and buttocks. The pitcher/seme should carefully observe the reaction of his partner and adjust the speed and depth of the to-and-fro movement to heighten the catcher/uke’s pleasure. The pitcher/seme should caress his partner’s penis, rubbing it against the pitcher/seme’s stomach to increase the excitement.

The catcher/uke should keep his legs as tight as possible in order to increase his own pleasure as well as his partner’s. For convenience and comfort, there should be pillows under the catcher/uke’s buttocks to diminish the effort that the pitcher/seme has to perform when raising his partner’s ass. The catcher/uke should caress his partner’s inner thighs, groin, and balls to stimulate his erection further.

Upsides :

Face-to-face interaction makes the position particularly exciting for both partners. This also allows for strong and deep penetration, which heightens the sensation for both pitcher/seme and catcher/uke.

Downsides :

“The Stem” is a very athletic position which needs a large amount of strength and iron muscles to avoid early exhaustion. Caressing is limited and kissing is impossible.

Δ The Swing

Art by Peruggine

Description :

The pitcher/seme should begin this by lying down on his back with his legs slightly apart. The catcher/uke should take a seat on his partner’s groin (placing himself ready for penetration), not facing his partner. The pitcher/seme should then be able to easily thrust into him.

Tips :

The pitcher/seme has the ability, in his position, to caress and stimulate the catcher/uke’s erogenous zones (torso, thighs, back, penis, etc). To ease the movement, eventually aiming to amplify the sensations, the pitcher/seme should lift up his thighs, buttocks, and hips in synch with the catcher/uke.

To stabilize the position better, the catcher/uke should lean onto the pitcher/seme’s knees while the pitcher/seme holds onto the waist or hips.

The catcher/uke can lean back more or less to change the angle in which the pitcher/seme thrusts into him, intensifying the sensations and pleasure.

To avoid straining (thigh muscles and such), the catcher/uke can lean forward and use his partner’s knees as support.

Upsides :

“The Swing” position allows for deep penetration, which ensures that the sex is intense. Both partners have a great amount of freedom in the movement department and both of them have the power to control the depth of penetration.

The two partners do not face one another, which is considered both as a good and bad for this position (there’s no eye contact and lowers intimacy); however, the catcher/uke and pitcher/seme are allotted excitation.

Downsides :

The current position places strains on the thigh muscles and may do so to other muscles in the process. The weight of the catcher/uke can inconvenience the pitcher/seme (Catcher/uke sitting on partner’s groin).

Some people might find this position uncomfortable. Not recommended to those of heavy weight (fat).

Δ The Reed

Art by Peruggine

Description :

The catcher/uke begins by lying on his back and spreading his legs. The pitcher/seme should then kneel between the catcher/uke’s thighs. The pitcher/seme’s thighs are half straightened up as he lifts the catcher/uke’s hips and may then penetrate him.

The catcher/uke should be arching his back as much as is comfortable, using his feet, shoulders, and head to support himself.

Tips :

Depending on how the pitcher/seme raises his partner’s hips, the angle and depth of penetration will vary for both partner’s pleasure . For heightened pleasure, the pitcher/seme can use a free hand to caress and brush his partner’s skin.

The pitcher/seme should carefully observe the reaction of his partner and synchronise his thrusts with them. Moving up and down with the pelvis can increase the sensations.

Upsides :

This pose allows for strong and deep penetration which heightens sensations for both partners. “The Reed” position allows for face-to-face interaction and may excite each partner.

Downsides :

This position requires a certain level of flexibility, a large amount of strength, and iron muscles if wishing to avoid early exhaustion.

4) Elite Positions

Δ The Bamboo

Art by Daeva-kun

Description :

The catcher/uke starts off lying on his back and spreading his legs. The pitcher/seme should then bend over the catcher/uke while the catcher/uke lifts one leg and rests it on the pitcher/seme’s shoulder. The pitcher/seme should move his own knee forward before penetrating him.

Tips :

After a few minutes, both partners can return to the original position and repeat the process with the other leg and knee. If both partners keep alternating the legs and knees, it’ll increase their sexual pleasure and stimulation. The pitcher/seme should carefully observe the reaction of his partner to synchronise his thrusts.

For more heightened pleasure, the pitcher/seme should free one hand and caress and brush over his partner’s skin. To access the greatest potential of this position (meaning deeper penetration and pleasure), have the catcher/uke grab his partner’s thighs or hips and pull them closer.

Upsides :

This pose allows for strong and deep penetration, which heightens both partner’s sensations. “The Bamboo” position allows for face-to-face interaction and may excite both partners. This posture is quite original and amusing.

Downsides :

This position requires a certain level of flexibility.

Δ The Bonobo

Art by Peruggine and Snack Attack

Description :

The catcher/uke starts off by lying on his back with his arms down beside his body. The pitcher/seme should grab the catcher/uke’s ankles, lifting his legs first and then slowly lifting his partner’s back up so he’s resting on his shoulders. If his knee is up to his head, then the position is correct.

The pitcher/seme should penetrate the catcher/uke, putting himself in the tip-toe position and place his fists against the mattress, blocking his partner’s legs.

Tips :

The pitcher/seme can change the position of his shoulders to kiss his partner or under the knees or the soles of his feet. To prevent any pain, the catcher/uke should lay on a soft mattress/sofa.

The catcher/uke can also use his elbows to support himself and use one of his hands to stroke himself.

Be careful when pushing the catcher/uke up onto his shoulders, placing too much strain on the neck can hurt him..

Upsides :

This pose allows for strong and deep penetration as well as good range back and forth. It’s an ideal position if you like to ejaculate on your partner’s body. The semen should be able to reach the catcher/uke’s body (back, torso, buttocks, feet, legs, face, etc…). This posture allows for multiple ejaculations.

Downsides :

This athletic position requires a certain level of flexibility (for catcher/uke) as well as strength. This unusual posture can cause back pain to the catcher/uke.

Hand stimulation is limited for both partners, both hands and arms should be used to maintain balance in the position.

Penetration may be too deep/vigorous for catcher/uke, meaning there’s possible pain involved.

Δ The Yin & Yang

Art by Ebichu

Description :

The pitcher/seme starts off this position by squatting, using the soles of his feet to maintain his balance. The catcher/uke sits on him and wraps his legs around his partner’s torso.

Tips :

For maximum comfort, this position should be performed on something stable or where both partners can have solid support (corner of bed, table edge…) within easy reach.

Upsides :

The Yin & Yang position allows for face-to-face interaction and may excite both partners exponentially. This posture is quite original and amusing.

It’s probably one of the most affectionate and sensual positions due to the vast amount of body contact.

Downsides :

The Yin & Yang is a very athletic posture which requires clear strength and iron muscles. If you want to avoid early exhaustion, you should have these qualities.

This isn’t a good position for large people (aka, fat). Both partners will have little to no freedom of movement.

Δ The Monkey

Art by Peruggine

Description :

The pitcher/seme starts off by lying on his back and pulling in his legs up against his stomach. The catcher/uke then sits on the pitcher/seme (around the mid-drift), propping his back on the sole of the pitcher/seme’s feet.

Tips :

To increase stimulation, the pitcher/seme can use his feet to push the catcher/uke up and down. The pitcher/seme can straighten up his torso between his thighs and stretch his arms out to reach the catcher/uke’s penis, then stimulating it to increase pleasure.

In order to stabilize the position, both partners should hold each other’s wrists.

This position requires that the catcher/uke be cautious, if he moves too fast or abrupt, he could accidentally bend the pitcher/seme’s penis and cause pain to the both of them.

Using slow circular movements with his pelvis, the catcher/uke can increase the sensations and intensity.

Upsides :

This posture is quite original and amusing. “The Monkey” position allows for very deep penetration, heightening the sensations for both partners. The sensations are intense, surprising and amazing for those involved.

Downsides :

Both partners will have little to no freedom of movement and may be uncomfortable for some.

Δ The Scissors

Art by Peruggine

Description :

The pitcher/seme starts off by lying flat on his back with his legs slightly apart. The catcher/uke straddles his partner (almost like he’s kneeling) while keeping his torso upright.

Gradually, so as not to cause injury for either male, the catcher/uke leans back until he reaches a comfortable horizontal position.

Tips :

The pitcher/seme can, in his position, caress and stimulate the catcher/uke’s erogenous zones (abs, thighs, inner thighs, balls and penis) to increase his partner’s pleasure.

The catcher/uke should take caution as if he moves too fast or far, he could accidentally bend the other’s penis and cause pain to both catcher/uke and pitcher/seme.

Upsides :

This position is ideal for the pitcher/seme to master his ejaculation better. It’s an original posture which will stimulate several senses.

Downsides :

“The Scissors” position requires a certain level of flexibility. Both partners will have little to no freedom of movement, face-to-face interaction, and no eye contact when the sex begins. Some people find this position uncomfortable.

5) Oral Sex : The art of Fellatio

Δ The Fellatio

Art by Peruggine

Generalities :

Fellatio is considered to be a male’s preferred type of foreplay. Saliva plays a major role in an enjoyable fellatio for it is a natural lubricant which can be exciting and gives texture to the buccal (mouth) penetration.

A key element of fellatio is to build up your partner’s desire without putting your partner’s penis into your mouth. You should start by kissing and licking around his penis, inner thighs, testicles, and then slowly up his shaft toward the glans (head of the penis). Once you are there, use your tongue around the glans, and especially on his frenulum, the split on the underside of the penis. At this point, he should be erect and extremely sensitive to everything that you do.

Description :

Be careful with your teeth. To prevent hurting your partner, suck in your lips to make sure that your teeth don’t graze or nick him. Place his cock inside your mouth, but don’t tighten your lips around it. Begin to make a circle motion with your head. The cock will slide to different places in your mouth as you continue the motion.

A kneeling position will suffice, but it’s effective when your partner in on his back and your head is directly over his cock.

The circle should be both clockwise and counter-clockwise in a slow manner.

Take his cock into your mouth by sliding your moistened tongue over the head until your lips close around the shaft at the point just behind your corona. Don’t just open your mouth, close it around his cock and slide it in. It will be more enjoyable for him.

Take the shaft of his penis with your hand, remembering that the shaft is relatively insensitive to most types of stimulation. By taking hold of his penis with your hand, you give him the sensation of having his entire penis encased.

Try twisting your head from side to side, making sure that you lips are moist and stay in contact with the coronal ridge. While doing this, gently move your hand up and down the shaft.

When he climaxes, he may want to push your head further down the shaft. He will try to get you to envelop his cock, as you are learning his climaxes you will miss the fine points if you deep-throat him now.

Instead, gently suck around the corona as he climaxes so that he can intensify his pleasure and increase the force of his orgasm. As you gain more experience, you will be able to tell exactly when the climax is coming, and you will be ready.

If you place your thumb at the very base of the penis so as to block the tube, the semen cannot escape even though he is spasming and going through the reflex action of ejaculation. If, at the same time, you suck vigorously on the head, you can delay the semen for only a few short moments. It might surprise you how intense the process is.

Tips :

Use eye contact while sucking his penis; make sure to watch his expression as he receives your service.

Lick the whole shaft of his penis and the ridge where the head joins the shaft, called the corona. This is the most sensitive part of his penis. Follow this ridge around to the underside. There’s a juncture where the two ends come together.

Use your breath to blow gently over the penis, this will get him warmed up and erect before you start licking and sucking it, but can also be used to tease.

Lick his scrotum or try drawing both of his balls in your mouth. Use one hand to circle the top of the scrotum and gently pull it down, bringing the testicles together. Place them into your mouth and lick his testicles. Most men will love this action.

Don’t forget about their penis, keep your hands on it in addition to sucking and licking it when appropriate, use firm strokes to heighten his pleasure.

Close your eyes and concentrate, if you’re nervous or unused to this, try some of the following: Slowly ease the penis in, taking it into your mouth one at a time until it’s completely in. By doing it slowly, you will be able to overcome the gagging problem most women will have.

Fellatio is not just about putting a penis in your mouth; you need to use your tongue to stimulate the head as well. Try alternating between sucking and licking with your tongue.

EACH penis is different :

Examine your partner’s penis and take in the appearance of it. Looking at it and preparing yourself mentally is important. Knowing it is a good way for you to be able to create a sensual time for you and your partner.

The shaft, or often considered as the head (technically the glans): Look at it closely. The outside of the glans is the corona. This joins the head to the shaft. This is the most sensitive part on the penis and where most of your attention should be in giving oral sex.

On the underside of the glans there is a point of juncture where the two ends of this irregular circle come together. If your partner is not circumcised, this will be where the foreskin is attached. This tiny area is the most sexually sensitive spot on his entire body. It may be possible to bring your partner to a climax simply by tapping the tip of your tongue gently on it.

Beneath the glans is the shaft. The shaft does not have many nerve endings and does not, therefore, provide a man with any high degree of stimulation when caressed either manually or with your tongue to the exclusion of the glans penis itself.

Beneath the shaft are the testicles. The testicles (“balls” in slang) are extremely sensitive to pain and are not usually considered subject to erotic stimulation to any particular degree. This is completely untrue. You can get a high amount of pleasure from him by paying attention to these hanging balls. The opening at the tip of the glans is the meatus (also considered as the “slit”), this is where the semen come out.

In order for you to observe your man’s reactions and get the most information possible about his responses, try the following:

Wait until he is stimulated enough that his penis (in its erect form) is pointing toward the ceiling. Cup his balls with one hand while you gently, using only your tongue, lick along the entire underside of his erect penis. As you suck along the underbelly, you will learn about those areas that will give him the greatest and least pleasure when your tongue is touching him. His moans, groans, and so on should provide you with which areas are the most pleasurable for him and what to focus on in the future.

As you play around and discover those areas, concentrate on them every now and then. For most men, the most sensitive area will be the point where the ring (or corona) of the head and foreskin are attached (or were attached prior to his circumcision). By continuing to lick and tap along this area with your tongue, you’ll become very knowledgeable about his points and may cause him to let out more semen than usual.

There are some ways to tell when he is reaching his climax point. You might want to take note of these changes in his penis. These signs will be the same each time, so there’s a pattern to it that you’ll want to learn to prepare yourself for his ejaculation. The head of the penis may swell to a somewhat larger size due to his erection. He may thrust his hips forward as he wants to begin releasing his semen. For most men, immediately prior to the ejaculation, there will be a tiny clear drop or two of fluid coming from the slit. When you see or feel this at the opening, you know that it’s almost time for him to come.

Variations :

Place the tip of your tongue on your palate. By doing this, you can reduce the size and depth of your mouth. The penis will then penetrate your mouth, but under your tongue. This will create a closed and tightened environment perfectly adapted to the shape of your partner’s penis. It will put extra pressure on the glans with each penetration.

This technique is both exciting and extremely handy, especially when the fellatio lasts for a while. Since you don’t need to open your mouth as wide as for a real fellatio, your jaw will not strain as much.

Feel free to alternate penetrations below and above the tongue. With this technique, if you use the underside of your tongue you can prevent jerky discharge of semen to reach your throat, and your partner’s glans will remain stimulated until his release.

The 69 position can also be used as the ultimate form of fellatio.

Art by Jhemos

Δ Deep-throating

Art by Peruggine

Generalities :

Deep-throating is a form of oral sex in which a man’s erect penis is entirely inserted into the mouth of his partner. It goes deep into the mouth, past the epiglottis and into the receiving partner’s throat. For deep-throating, the penis has to be long enough to reach the back of the throat.

Placement is important in this activity. The angle of the mouth and throat should be wide, positioned in a straight line. For this reason, “over-the-edge” (referring to the position of the head on the bed) is a fairly used position.

The partner giving the oral sex lays down on his back with his head hanging over the edge of the bed and the receiving partner stands or kneels with his penis at his partner’s mouth level. Another position used for deep-throating involves the pitcher (giver) sitting on the male partner’s chest, with feet or shaft in front of him. The 69 position can also be used.

Description :

In order to practice this, get in a position where you can turn your head in a way that your mouth and throat lie almost in a straight line. The best position to accomplish this is to lay on the bed with your head near the edge and body sprawled across the bed so that the head is tipped sharply back. This position allows you to put your mouth and throat nearly in a line and will allow your partner to approach you and insert his penis with the pubic hair pressed against your lips.

The natural tendency of the body is to gag when something is being forced down your throat. To overcome this, relax your throat when the insertion is made. It is equally important that you maintain this relaxation during the entire ordeal.

Let him put his penis down your throat and hold it still while you find the most comfortable way to proceed. Due to your position, you will not be able to move or offer him any greater stimulation than simply keeping your mouth closed tightly around his penis. If you are able to, stimulate the bottom side of the penis with your tongue.

You will only be able to relax and take his penis in if you completely trust your partner. Your partner is in complete control. He must initiate and maintain all the motion. This is the only exercise in which you relinquish your control of the situation. He will more than likely take advantage of the new-found control and insert his penis deep down your throat. Now your partner should begin an in and out movement just as if he were during sex. He should start slowly, especially if this is a new experience for both of you. His only other requirement during this is to keep the motion in the same direction, there is no way he can vary the motion from side to side.

Tips :

When you relax your throat and your partner is thrusting, you cannot breath while the penis is in your throat. Being able to relax your throat is only half of what you must due because taking breaths as your partner pulls back or as you pull back is the other half. This requires some practice. The first reaction might be to panic – that you might not have enough air -, but most of the trust should come from knowing that your partner will pull back in predictable intervals. That should give you enough time to breath in or breath out.

One word of caution. Do not let your partner get carried away when he starts to ejaculate. At that moment, he will be able to thrust his penis all the way inside your oral cavity and this is the most important lesson. His only other requirement during the exercise is to keep the motion in the same direction against your lips as he does this. Due to the position on the bed, you will not be face with the problem of swallowing his semen. The reason is because he has his penis beyond your gag reflex. Without a condom, his semen will shoot directly into your stomach. If both of you understand what it is that you’re doing, there should be no harm or discomfort for either of you.

It is possible that not everyone will learn this technique. You must allow your throat to relax completely while your partner is thrusting his penis deeply down your throat. To do this long enough for your partner to ejaculate is very difficult and may require a lot of practice. Don’t be afraid to slowly get used to it. It may be that you will be able to take your partner down your throat completely, but you will not be able to maintain proper relaxation of your throat until he comes. Hopefully, your partner will understand that this is not a rejection of him or what he’s offering. If he does feel that way, do not try this technique again.

Semen’s taste varies from person to person. It’s been said that it tastes mild to tangy depending on the food ingested. Some have a taste for it, some do not.

If you want to swallow it without hassle, take the climax deep into your mouth. Vomiting, noisy hawking, or dashing to the bathroom can be very rude and demeaning to the male climaxing, so if you don’t wish to swallow it, remove it quietly afterward (in a towel or handkerchief). Or switch from fellatio to masturbation beforehand; however, this should not be done too close to orgasm.

Lord Truhan gave me a set of references pics to use for the poses, so I just had to arrange them in the sheet, trying to make them look nice.

Arranging poses could be quite bothering XD At first I wanted to set the sheet in a vertical position, then, realizing that the other figures were too covered by the main figure I decided to set the sheet horizontally. It’s quite lame, but at least I can give enough space to every figure.

I’ll focus on the main picture for this kinda tutorial. This is the reference pic  I’m using

Ok, stop drooling– CLOSE IT AND KEEP READING >_> !!!

Sketching the main “blocks” is vital. Head, the torso, and then legs and arms. Personally I think that the torso is the most important part of the human body, and also the most difficult.

Pay extra attentions to the conjuctions, or where the various parts of the body merge: neck, shoulders, hips.  They could be really expressive and they’re vital for the accuracy of the anatomy. Double check them constantly as you keep drawing.

As you add more details, start wondering about the light source.

Light and shadows are what make the pic looking 3D.

Using a picture as a reference could be tricky ’cause they overuse artificial light and artificial light is weird, making a proper rendition difficult.

Plus, his asshole has his body all smeared in oil, making the understanding of light even more complicated >_>;

Keep adding details, adding or editing stuff according to your needs.

As a photo is easy to accept as real since its medium, a drawing is more difficult to look real. Maybe your model has a muscle bigger than another, or the tricky light effects don’t show some details, making an irregular surface looking smooth.

An artist doesn’t have to simply copy reality. Cameras and copiers can do that.

An artist’s duty is making reality acceptable; if not for the watchers, at least for himself.

This is a full shot of the finished body.

By looking at it you can spot some errors. I guess that I’ll fix them later.

Sometimes taking pics of your drawings and glaring at them is a good exercise: cameras don’t lie (also if they distort perspective awfully XD) so you can look at your work critically.

Drawing well just means having a good sight.

In the end, add the head’s details. –Well, you don’t have to do it exactly at the end. You can do it at the beginning, or in the middle, or whenever you want.

But since the face is the most expressive part of the body I usually keep it for last: maybe you draw a perfect face and then you add the body, then realize that a set of muscles is wrong. It’s more difficult to focus on that set of muscles if you have your character looking at you…

Drawing faces gives a sense of completeness, so, in my opinion, it is always preferable to do in the end.
Please, note that when I say “face” I don’t mean “head”.

The head is the first thing that you have to sketch, ALWAYS.

Having the head’s size as a reference is of great help to develop your figure properly.

Now’s it’s time I’m explaining you how to ink it. I’m not particularly good at inking (and I hate it >_>), but I have some tips that you may find interesting :3

So, we have our pencil pic, ready to be inked.

A common error (but it’s not really an “error”, just a thing related to style) is inking all the parts you already outlined in pencil…

…If you wanna give a sense of softeness and “reality” don’t ink every single detail, expecially when dealing with a human body.

Emphasize only the most important lines, those you know will be more visible and darker in reality, those that really suggest the volume of the figure.

This is the finished inked boy.

Now we’re going to explore the last and most dreaded step : Coloring

This isn’t meant to be the ultimate tutorial about CG coloring but it shows how do I get certain results and obviously you can use it as a reference to develop your own style.

For this tutorial I’m going to use ADOBE Photoshop 7.0.

Every program that supports layers and multiplying would do, but I personally prefer Photoshop ’cause its brushes are really pretty and easy to use and edit.

Ok, so we have our freshly inked and scanned pic.

The first thing I like to do is adding some contrast, to make the inked lines darker and more defined.

Path: Image > Adjustments > Brightness/Contrast; I just settled “Contrast” on +10 here.

Once I’m done I start with the most bothering part– Cleaning the lineart.

Mostly from the terrible things that lie on the glass of my scanner, then some extra pencil parts, the render of the sheet’s borders… Stuff like this.

I use a simple Brush tool for it :3

Once the picture is properly clean I like to set the pic in greyscale mode to delete all the weird little colors hiding in the scan.

It may seem a weird thing, but it’s useful, expecially when dealing with big sized pics.

So, Image > Method > Greyscale.

Once you’re done, switch to a color method; I used CMYK here, ’cause since it’s a commission it’s probably going to be printed ^_^

Image > Method > CMYK Color.

I like to have my linearts colored.

So Image > Adjustments > Variations, and I play with it until I get a pretty nuance of color ^^

Once we’re done with the image preparation we can start working on the real coloring.

Create a new layer via Layer/New/Layer.., select Multiply in the new layer’s option window and press Ok.

Now, select a color from the Tool Palette on the left, grab the Fill tool, set its Tolerance to 60 and start filling the pic with the chosen colors.

Some people like to have layers for every part of the pic; so, a layer for the background, one of Baki’s body, another for Gohan’s… Personally I like having everything on the same layer to keep it simpler.

Once you’re done, if the filling is not perfect, you’ll have to fix it with some Brush strokes.

On this same layer I also use to add the light/shiny effect of the characters’ hair with some extra strokes of Brush.

Now, let’s add the shadows.

Create another “multiplied” layer, grab your Brush and a select a color and start sketching the shadowed parts on your pic.

Get closer by the window’s Navigator and fix the borders of the shadows via Brush and Eraser until you’re satisfied.

Once I’m done with the shadows, I like erasing them a little more with a softer and bigger Eraser, just to add more softness to the charoscuro…

If you delete too much, tage the Brush back and add more shadows where wanted.

As a finishing touch, I create another multiplied level and I add some extra shadows with the Brush. Not many, just a bit to give some extra volume and expressiveness to some parts, like the eyes, neck of collarbones.

Again, fix them with Eraser and Brush and we’re finally done ^_^

And that’s it ^_^

1) How to count in Japanese :

Zero = 0
Ichi = 1
Ni = 2
San = 3
Shi = 4
Go = 5
Roku = 6
Shichi = 7
Hachi = 8
Kyu = 9
Juu = 10
Juu-ichi = 11
Juu-ni = 12
Juu-san = 13
Juu-shi = 14
Juu-go = 15
Juu-roku = 16
Juu-nana = 17
Juu-hachi = 18
Juu-kyu = 19
Ni-juu = 20
Ni-juu-ichi = 21
Ni-juu-ni = 22
Ni-juu-san = 23
Ni-juu-shi = 24
Ni-juu- go = 25
Ni-juu-roku = 26
Ni-juu- nana = 27
Ni-juu- hachi = 28
Ni-juu-kyu = 29
San-juu = 30
Yon-juu = 40
Go-juu = 50
Roku-juu = 60
Shichi-juu/Nana-juu = 70
Hachi-juu = 80
Kyu-juu = 90
Hyaku = 100

2) Basic colours :

Akai = Red
Daidaiiro = Orange
Iieroo = Yellow
Midori = Green
Aoi = Blue
Muasaki = Purple
Kasshoku = Brown
Shiroi = White
Kuroi = Black
Nezumiiro = Grey

3) Popular Food and Drink :

Bento = Box Lunch
Biru ippon = A bottle of beer
Cha = Tea
Choko = Sake cup
Choshoku = Breakfast
Daikon = Radish
Dezato = Dessert
Donburi = Food Bowl
Eiyo Drink = Supplement Drink
Eikeben = Station Lunch
Fugu = Puffer fish
Gohan = Cooked Rice
Gyoza = Potsticker
Gyudon = Beef Bowl
Hashi = Chopsticks
Haze = Goby
Hisago = Gourd
Hiyamugi = Noodles
Ika = Squid and Cuttlefish
Kakigori-ki = Shaved Ice
Kare Raisu = Curry Rice
Kayu = Rice Porridge
Kyuri = Cucumber
Maguro = Tuna
Manju = Bun, Dumpling
Masu = Box measure
Miso = Soybean Paste
Misoshiru = Miso Soup
Mizu = Water
Mochi = Rice Cake
Nasu = Eggplant
Nigirimeshi = Rice Ball
Niku = Meat
Ninjin = Carrot
Nori = Seaweed
Odoburu – Appetizer
Okane = Money
Osato = Sugar
Osechi-ryori = New Year’s Food
Ramen = Noodles
Sakana = Fish
Sakazuki = Sake Cup
Satsumaimo = Sweet Potato
Senbei = Rice Cracker
Shio to kosho = Salt and pepper
Shoyu = Soy Sauce
Tako = Octopus
Tekka maki = Tuna roll
Tokkuri = Sake Flask
Tori = Chicken
Tsukemono = Pickle
Umeboshi = Salted Japanese Apricot
Umeshu = Plum Wine
Ungai = Eel
Yakisoba = Noodles
Yasai =Vegetables
Wain = Wine

4) Family and Relations :

-chan = an affectionate honorific, used on very young children, or a significant other.
-kun = honorific for a young boy or inferior worker
-sama = high honorific, reserved for gods, emperors, etc.
-san = general honorific, equivalent to “Mr.” or “Ms.”
-sensei = honorific used for teachers and doctors.

Kaasan = Mother
Tousan/Otousan = Father
Kyoudai = Brother
Aniki = Older sibling, usually used for a brother, particularly for the older of a set of twins.
Niisan/Oniisan = Older brother
Neesan/Oneesan = Older sister
Imouto = Younger sister
Obaasan – Grandmother
Ojiisan = Grandfather/Uncle
Ojosan/Ojousan = Something you might call a younger girl you don’t know
Watashi = I/me
Boku = I/me (reserved for males only)
Atashi = female “I”, equivalent to boku
Watashi no = My
Watahi-tachi = We
Anata = You, usually used between close relationships, meaning ‘dear’
Hito = Person
Kodomo = Child
Otoko = Male
Onna = Female
Shonen = Boy
Shoujo = Girl

5) Time’s Notions :

Kyo wa nannichi desuka? = What is the date today?
Asu wa nannichi desuka? = What is the date tomorrow?
Kino wa nannichi deshitaka? = What was the date yesterday?
Ohayo = Good morning
Konnichi wa = Good afternoon
Konban wa = Good evening
Sayonara = Good bye
Ja ne = See ya
Nanji desuka? = What time is it?
Shogo desu = It is noon
Ichiji desu = It is one o’clock
Niji desu = It is two o’clock
Sanji desu = It is three o’clock
Han = Half past the hour
Yoji han desu = It is four-thirty
Sanji nijuppun desu = It is three-twenty
Goji juppun desu = It is five-ten
Yonaka no juniji desu = It is midnight
Gozen = Morning
Gogo = Afternoon
Ima = Now
Ima sugu = Immediately
Ato de = Later
Choshoku = Breakfast
Chushoku =- Lunch
Yushoku = Dinner

Getsuyobi = Monday
Kayobi = Tuesday
Suiyobi = Wednesday
Mokuyobi = Thursday
Kinyobi = Friday
Doyobi = Saturday
Nichiyobi = Sunday

Ichi-gatsu = January
Ni-gatsu = February
San-gatsu = March
Shi-gatsu = April
Go-gatsu = May
Roku-gatsu = June
Shichi-gatsu = July
Hachi-gatsu = August
Ku-gatsu = September
Juu-gatsu = October
Juu-ichi-gatsu = November
Juu-ni-gatsu = December

6) Various Basic Terms :

Aaa (Aa) = General sound of agreement. Say, well, er, oh, ah
Ahou = Moron
Ai = Love
Aidoru = Idol Singer
Ai Shiteiru = I love you
Aisuru = Beloved
Akushu suru = Shaking hands
Ame = Rain
Anou = Hesitation sound, basically “Ummm…”
Ano = Say, well, er
Arigato = Thank you
Asahi = Morning sun
Atakku = Attack
Atena = Address

Baka = Idiot
Bakemono = Monster
Baku = Dream Eater
Benjo = Toilet
Bishonen or bishounen = Literally, beautiful man
Buruma/Bulma = Gym shorts
Bosozoku = Gang

Cha-no-yu = Tea Ceremony
Che = Essentially the same level of swearing as “shit”
Ch’kushou = “God damn it”
Chotto = A little bit

Daijobu or daijoubu = It’s/I’m alright
Daijouba desu ka? Ah. Daijoubu = Are you Ok? Yes, I’m OK
Dai suki = I love you
Dare (Dare da) = Who ?
Demo = But
Denwa = Telephone
Do itashi mashite = You’re welcome /It was nothing
Dojinshi = Fanzine
Doushite = Why ?
Doushio = “What now?” or “What do I do now?”
Dozo = Please

Ecchi = Pervert
Egao = Smile, smiling face
Enka = Popular Song
Enkai = Party
Eto = Er, let me see

Fundoshi = Loincloth
Furo = Bath

Ganbatte = “Good luck!” or “Do your best!”
Genkan = Entryway
Genki = Spirit
Geta = Wooden Sandals
Gi = Traditional outfit for fighting.
Ginga = Galaxy
Gomen = “I’m sorry”
Goryo = Vengeful Ghost
Gozaimasu = Uh.. not sure about this one. It comes at the end of sentences.

Hachimaki = Headband
Hagoita = Paddle
Hajimemashite = Nice to meet you
Hai = Yes
Hakama = Trousers
Hanabi = Fireworks
Hankachi = Handkercheif
Hana-Kanzashi = Hair Pin
Hanaste = “Let go!” Forceful. Hansei = Reflection, meditation
Hanko = Seal
Hara = Stomach, belly
Hari = Acupuncture
Haori = Jacket
Happi = Coat
Heika = Your Highness
Hentai = Pervert, but stronger than ‘ecchi’
Hibachi = Charcoal Heater
Hidoi = Cruel, terrible
Higure = Dusk, sunset, twilight
Hime = Princess, usually followed by ‘san’ or ‘sama’
Hontou = Really
Homurumu = Homeroom
Hoseki = Jewelry

Ichimonji = Spatula
Iie (Iya) = No
Irasshaimase = Welcome
Irezumi = Tattoo
Irori = Sunken Hearth
Irui = Clothing
Itai (Ite) = Painful (ouch)
Itsumo = Always
Iya da, dame, yamete, hanase = No, no, stop, let me go

Jinzoningen = Android
Jizaikagi = Pot Hook
Jubako = Stacking Boxes

Kagayaku = To shine
Kame = Turtle
Kami = Go
Kappogi = Cooking Apron
Katana = Breeze
Kawaii = Cute
Kaze = Wind
Kazu = Numbers
Ketsueki-gata = Blood Type
Ki = Life force, internal energy
Ki-Ai = Shout
Kimono = Traditional Robe
Kippu = Ticket
Kisama = “Bastard” or “You” (vulgar)
Kisu = Kiss
Kitto = Surely
Koi = Love
Koibito = Lover, sweetheart
Kokoro = “heart”, “mind” or “soul”
Kore kara zutto itsumademo = Always and forever
Koko Yakyu = High School Baseball
Kon’in = Marriage
Korosu = To kill
Kosui = Perfume
Kowai = Scary
Kudasai = Please
Kurisumasu = Christmas
Kyuushi = Death
Kushami = Sneeze
Kushi = Comb
Kuso (K’so) = Shit

Mahou = Magic
Makudonarudo = McDonald’s
Makura = Pillow
Masaka = Impossible or Never
Matte = Wait, imperative form
Minna = Everyone
Mino = Rainwear
Miyage = Souvenir

Nanase = Be sensible
Nanda/Nan desu ka? = What is it ?
Nani = What
Nasai = Adds formality, ex. “Gomen nasai”
Ne = At the end of a sentence, “isn’t it?”. At the beginning of a sentence, a general attention.
Neko = Cat
Ningen = Human
Ninmu = Mission

Obi = Belt, Sash
Ogenki desu ka? = Are you well?
Ogi = Folding Fan
Ohayou (Ohayo) = Good morning
Oi = Hey
Ojii = Prince, usually followed by ‘san’ or ‘sama’
Ojou = Queen usually followed by ‘san’ or ‘sama’
Okaeri = Welcome home
Omae = “You”, very rough
Omae wa ore no mono da = You belong to me
Omocha = Toys
Onegai = Please
Onna = Woman
Oou = King, usually followed by ‘san’ or ‘sama’
Ore = male “I”, rough.
Oyasumi = Good night
Owari = The End

Sailor Fuku = School uniform for girl
Saiyajin = Saiyan
Sando-gasa = Hat
Saru = Singe
Sei Barentain no Shukujitsu = Valentine’s Day
Shimatta = Damn
Shinbun = Newspaper
Shogi = Japanese “chess”
Shugaku Ryoko = School Trip
Soka = Is that so?
Sugoi = Amazing, wonderful, Cool, Excellent, etc.
Sumimasen = Excuse me

Tabi = Split-toed sock
Tabidatsu = Depart/departure
Takushi = Taxi
Teme = very rude “you”
Tenki = Weather
Tenshi = Angel
Tooi Yoake = Far off Dawn
Tsuki = Moon
Tsunokakushi = Headdress

Wai = Yay!
Wakarenai, wakarimasen = “I don’t know” or “I don’t understand”
Watashi = polite “I”, either sex
Watakushi = very polite “I”, either sex
Wakateru – I understand

Yamete = Stop! Imperative form
Yaoi (Yama nashi, imi nashi, ochi nashi) = “No climax, no meaning, no resolution” used to describe male/male relationships manga/stories
Yare yare = Well, well
Yaro = Rascal, i.e Bakayaro
Yoroshiku = “Please look favorably upon me”. Tradition when greeting someone for the first time
Yoshe or yoshi = All right!
Yoshi = Adoption
Yuino = Betrothal Gift
Yukata = Lightweight Kimono
Yume = Dream

Zabuton = Floor Cushion
Zori = Thong Sandals
Zutto = Forever

Take a few minutes and get a cup of hot tea or take a bubble bath , read a book, take a walk, or watch a movie that really exhilarates you and has proven a mental stimulant before. If you recharge your optimism, then you can write, since ideas pop into your head faster.. If you are relaxed and optimistic you’ll be writing in no time.

2) Free write for a few minutes on a blank piece of paper. I grab a dictionary or any old book, pop it open and wherever the page opens to I pop a finger onto a word at random.. I write the word down then see how many words I can associate with the one that randomly got picked to get the mind to working in finding ways to make the connections.

**This exercise also helps with plotting when you don’t have blocks BTW.. Example: Write out the word escape; if you have a hero trapped somewhere, then different avenues come to mind for how escape can be achieved rather quickly…

You can do this by making lists of things, like objects, colours or whatever which might be put in the ficcy you are on at the moment, or for a later use. It isn’t where it goes Right Now that matters, Half the battle is fought by simply taking down the first three objects/ colours/ people names or whatever.. By starting to write, you open the door no matter how stuck it is. I do lists on objects in a room or mentioned in a book or whatever else I can think of to get the mind working. I later on expand by describing the objects if simply listing them doesn’t break the block open wide in a matter of minutes.

Example. The word Vase; How many types of vases are there? Boxy ones, square ones, thin, tall, long, hourglass shaped and Triangular, they come in ceramic, clay, glass, metal and many other forms of substance too. See how fast you can write out different types of vases that come to mind.. :) You can even start listing types of flowers and their colours if you like to start the process of listed free writing.

3) The Pep Talk: Ok this is another huge part of writer’s block I have found from way too much experience with the problem.. Finding the fear within that blocks the creative juices.. Read what you have aloud first and foremost.. Does it flow or is it stilted sounding? If it doesn’t sound right, then fix it so it does… Usually by doing a re-vamp.. Aka short form edit, You’ll get the mind working and cooperating because you will be able to say ok I can do this.

You can also explore the underside of what you are writing this way… Does something in the ficcie you are working on ring true and it is a truth you aren’t quite comfy with as an example. :) I do this one a lot.. You should always write about what you know, as per relationships between people etc..

If you know very little about the topic, the exact same thing can happen. Research can only go so far. If you’re writing about a submarine crew, but know absolutely nothing about submarines.. You may well find yourself blocked as well.

4) Turn the situation around in what you are writing. This is a different form of looking at the underside of what you are writing. It is a change in view points, and it is getting inside of your character’s head, literally.. You start by asking things like Ok if I was so and so what would I do in this situation. :) It’s a fun kind of role play game in short.. Or you make the villain momentarily the hero, and the hero the villain so to speak. :)

But the challenge here is that the villain has to stay in same basic character as does the main hero.. :) It makes for some funny stuff mentally… Trust me.. Could you see Android 17 being in Gohan’s shoes when Gohan lost his arm? How would he have reacted to the loss of a limb? And would he have given android 18 the senzu bean if it was the last one? Or would he have broken it in half and given half to each of them? See how this works?

Perhaps if the scene was set somewhere else, like a forest instead of an amusement park…. how would the forest setting impact the scene of the battle where Gohan lost his arm? What difference would Trunks battle with 18 have had in a forest instead of a fun park? I think these questions are giving you an idea of what this turn it upside down really means. It’s putting the fic under construction through major changes in your mind not in the paper format, and trying to determine what is or isn’t working for the current picture you are drawing of the fic you are blocked on. It means slowing down a bit, relaxing and trying to make a moment of whimsy of the piece in most regards… You could even have the idea of Gohan not losing limbs at all.. That the senzu bean was never needed, and the androids get hit in the face with cotton candy if you like.. Just so long as you shift the scene and look at how place changes the meanings of the plot, compared to something else (the actual show in this case)

5) Do an interview with the actors in your plot… Ask questions of them, write it out like it was a newspaper clipping or something of that nature to get the ideas moving in a manner that lets you really understand the characters better… Perhaps you do a family show like family Feud,… Gohan and Trunks Vs. Androids as example. :) How would they answer the Questions posed to them? who would answer faster? or read a newspaper for it’s headlines… Ok if this was Trunks or Gohan in this particular eye catching newspaper article, How would they answer the interview? Etc.. etc.. it forces the mind to concentrate on the character, and helps you get back to the plot line by giving you ideas to work with.

6) Role play AD&D your plot via Characters.. be the character in your own living room.. heheh I do this one a whole lot.. Or perhaps your a fringe character… You are not necessarily stuck being the main characters, You can be a fringe character watching the main ones interact.. You set up the situation, and you hear both sides.. Listen to what the imagination tells you. :) I have a tape record I use in this one.. I role play a lot like a D&D or AD&D adventure driving in my car.. I give short blunt descriptions of things, places, actions and people that float to my mind’s eye as I drive.. It makes the never ending 100 degree trips (40 miles one way) into town seem much more bearable and quickly run. Feel silly and have fun! Tee hee.. The sillier you feel at the start, the more likely you are to hit Gold mines when you get used to role playing in this fashion. :) You get blah, blah, blah to start with, but once gold is struck, it doesn’t run out for hours as I have been told by others I suggest this tactic to… Actions force the mind to mould itself to the concept and to work within the frame of the context being dealt with much more vividly.. That’s why the kids with the backyard war game are amused for hours.. They don’t have freak outs over role playing.. So be a BIIIIIG Kid for a few hours.. It will make you proud of yourself, and nobody has to know if you do such in your own living room with the shades drawn.

7) Write a Letter to and from your character.. This is fun. I do journals also.. As in what the character thinks and feels.. :) Letters are major communications.. So if you write saying gee how ya been Trunks? Then Trunks is obliged to answer right? what was his POV. (Point of View) when Gohan lost his arm rescuing his smarty ass… He did after all practically beg 18 to murder him so he could get a way out of Mirai timeline. :) Perhaps he thinks Gohan’s injury is all his fault.. Perhaps he thinks that he can deny any, and all, part in the incident and sets it up as if he’s an angel?? everyone comments on how vividly I catch characters, and guess which of my writer’s block 101 breakers that comes from?? You got it.. This exercise.. :)

LOL I have a document on my comp that is a trunks Journal.. I also have a Gohan’s views Journal.. And I am quick to add things from all the ficcies I write, No matter how off the wall the Journals get or how conflicting, each section is pertaining to a specific Fic or show I have seen. :) It really helps you stay in touch with your people. I have every character of importance in my fics whether DB/Z/GT or otherwise related to writing journaling while I work on their particular project and plotting.

8) Last thing I can think of for this day’s work.. Create a History or Profile master for the characters in the story… I mean in-depth profiles, not purple hair versus -black hair or brown eyes versus blue… Did they home school like Gohan, and Mirai Trunks and Gohan? How high is education level? It’s a form of in depth character formulizing and it also works great. :)

There is an example character profile list also here. I have it in a science fiction trilogy that is already taken , so the character and her home planet and culture are trademarked already, sorry you can’t steal her, Nor her world, language etc, but you can use her home and language etc, as places to jump start your own creativity if you like. As in gee this is possible? Ok what could I do with this concept?

Also use the profile master as a spread sheet for books you read, and movies you see. :) You’ll be surprised how few new ideas there are in the world.. It’s all in how it is written about. That should get rid of fears of being boring and dull as there are so many things that are already done that you think of redoing.. Ask yourself how you can take the old and make it new instead..

9) The last bit of advice I can give is simply ask someone who is capable of being open to what you are writing.. this M.L. has a few good writers, and there are probably others whom you know that might be of assistance if you get jammed and these other ideas don’t get you any results.

MASTER PROFILE SHEET

NAME:
SPECIES WHERE APPLICABLE:
RACE:
ETHNIC GROUP:
GENDER:
BIRTH PLANET:
PLANETARY SYSTEM:
CITY OF BIRTH:
STATE:
COUNTY:
COUNTRY:
BIRTH DATE:
CURRENT AGE:
NICK NAMES:
PHYSICAL STATISTICS
HEIGHT:
WEIGHT:
BODY TYPE:
NECK:
SHOULDERS:
ARMS:
HANDS:
BREASTS/CHEST:
BELLY & WAIST:
LEGS & HIPS:
VOICE:
FACE & EYES:
HAIR COLOUR & STYLE:
PERCEIVED PHYSICAL IMPERFECTIONS
1
2
3

DISTINGUISHING FEATURES:
1
2
3
CLOTHING STYLES & FAVOURITE OUTFITS:
1
2
3
4
PERSONALITY TYPE:
CHARACTERISTIC GESTURES
1
2
3
4
RELIGION; WHERE APPLICABLE:
GENERAL PERSONALITY TYPE:
INTROVERT?
EXTROVERT?
QUIRKS:
1
2
3
ECCENTRICITIES:
1
2
3
TEMPERAMENT:
SENSE OF HUMOUR:
METHOD OF HANDLING ANGER/RAGE:
ADMIRABLE TRAITS:
1
2
3
4
NEGATIVE TRAITS:
1
2
3
BAD HABITS/VICES:
1
2
3
4
PREJUDICES:
1
2
3
PET PEEVES/GRIPES:
1
2
3
4
FAVOURITE PET SAYINGS, WORDS/IDIOLECT:
1
2
3
4
SPEAKING STYLES;
PHILOSOPHY OF LIFE:
TYPE AND # OF CLOSE FRIENDS:
1
2
3
4
BEST FRIEND:
OTHER FRIENDS:
1
2
3
4
5
6
THINGS THAT MAKE UNCOMFORTABLE/ EMBARRASS:
1
2
3
4
MOST PAINFUL THINGS IN LIFE:
1
2
3
4
TRAUMAS/PSYCHOLOGICAL SCARS FROM PAST:
1
2
3
4
MOST CRUCIAL EXPERIENCE(S) THAT HELPED SHAPE PERSONALITY/ATTITUDES:
1
2
FEARS:
1
2
3
4
PHOBIAS:
1
2
3
4
MANIAS:
1
2
3
4
PHYSICAL ILLNESSES/AFFLICTIONS:
1
2
3
4
MENTAL DISTURBANCES:
1
2
3
4
HOBBIES:
1
2
3
4
INTERESTS:
1
2
3
4
SPORTS:
1
2
3
4
FAVOURITE PASTIME(S):
FAVOURITE SHOWS:
1
2
3
4
FAVOURITE MOVIES:
1
2
3
FAVOURITE TRAVEL DESTINATIONS:
1
2
3
PETS:
1
2
DRINKS ALCOHOL? :
HOW OFTEN?
IF DRINKS, WHAT IS FAVOURITE DRINK:
FAVOURITE MEAL:
FAVOURITE BOOKS:
1
2
3
DIET; RICH OR LOW CHOLESTEROL/FAT?:
FAVOURITE RESTAURANT/ETHNIC FOODS:
A:
B:
OPINIONS SECTION
OPINION ON ABORTION (As Example):
OPINION ON BIRTH CONTROL:
OPINION ON ENVIRONMENTAL ISSUES:
OPINION ON HOMOSEXUALITY:
OPINION ON MILITARY INTERVENTION:
OPINION ON PROGRESS; SCIENTIFIC:
MEDICAL:
TECHNOLOGICAL:
OPINION ON CRIME/WEAPONS CONTROL:
OPINIONS PECULIAR TO CHARACTER:
1
2
3
4
LIVING SITUATION SECTION
HOME; APARTMENT/CONDO, MANSION, CASTLE ETC.. LOW INCOME/EXPENSIVE,
RENT OR OWN?
NEIGHBOURHOOD:
TRANSPORTATION:
OBEY LAWS:
DRIVE FAST/SLOW
INCOME:
INCLUDES BREAKDOWN OF EXPENSES IF POSSIBLE:
STOCKS/BONDS, INHERITANCE WHERE APPLICABLE.
1
2
3
SEXUAL ATTITUDES SECTION
FAVOURITE PHYSICAL ATTRIBUTES OF OPPOSITE SEX:
1
2
3
ATTRIBUTES OF CHARACTER THAT ATTRACT OPPOSITE SEX:
1
2
3
SEXUAL TURN ONS:
1
2
3
SEXUAL TURNOFFS:
1
2
3
SEXUAL ATTITUDES; PRUDE OR PROMISCUOUS:
EDUCATIONAL BACKGROUND
I G:
YEARS OF SCHOOLING:
MAJOR/MINOR STUDIES IN COLLEGE:
1
2
3
4
DEGREES EARNED/AWARDED/ HONORARY:
1
2
3
GRADES ACHIEVED:
SPECIAL OCCUPATIONAL TRAINING WHERE APPLICABLE:
SKILLS/ABILITIES/ & TALENTS:
1
2
3
4
AREAS OF EXPERTISE:
1
2
3
CURRENT OCCUPATION:
PREVIOUS OCCUPATIONS:
1
2
3
4
MILITARY EXPERIENCE WHERE APPLICABLE:
WEAPONS OF CHOICE:
1
2
3
4
POLITICAL & SOCIAL ISSUES MOST IMPORTANT TO:
1
2
3
POLITICAL PARTY:
TYPE: LIBERAL, CONSERVATIVE, MIDDLE ROAD, RADICAL:
EVER BEEN ARRESTED? <IF SO FOR WHAT?:
1
2
3
SHORT TERM NEEDS:
1
2
3
4
LONG TERM NEEDS:
1
2
3
4
SHORT TERM GOALS:
1
2
3
LONG TERM GOALS:
1
2
3
MINOR PROBLEMS TO SOLVE/OVERCOME:
1
2
3
SOLUTIONS TO:
1
2
3
MAJOR PROBLEMS TO OVERCOME:
1
2
3
SOLUTIONS TO:
1
2
3
CHARACTER GROWTH BY END OF STORY; CHARACTER CHANGE/LESSONS LEARNED:
1
2
3
4
CHRONOLOGY OF ACTIONS FROM START TO FINISH OF STORY:
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18

CHARACTER LINEAGE:
CREATE FAMILY BACKGROUND FOR CHARACTER’S RELATIVES; INCLUDE HISTORY, OCCUPATIONS, ETC WHERE APPROPRIATE.

Draw an half and lightly elongated circle between the two exterior horizontal lines. That’ll be the ear, then add a jaw under the circle while imagining a curve that reaches the bottom of the ears.

Draw the eyes on the middle horizontal line (make them thin and triangular). Draw the nose and the mouth at the junction of vertical and lower horizontal line (make them very small and close together). Add the outline of the neck.

Erase all the useless guidelines. Draw the basic shape of hair, making it very thick and rounded.

Add more hair’s details, then some pupils, and shade beneath the mouth. Don’t worry if they don’t come out right at first. I always draw them many times before being satisfied by the results.

And here’s what you’re getting when you’re putting the two pictures together.

One last word of advice, the best way for you to progress is to study pictures done by Akira Toriyama. To help you, you’ll find below a large selection of references pictures scanned by Lord Truhan for this tutorial.

A few things to get you started:

First things first. You have to know who and what you’re writing about. The first thing you do before writing anything down on paper (or on computer screen) is to watch the show you want to write about and become familiar with the characters. Although I have, in my time, written stories where the characters act horribly OOC (out of character), with experience I have realized that the best fanfiction is the story where the characters seem real. These are the stories where you sit back and say; ‘Yeah, I can see (insert character’s name here) doing that.’ A little OOC isn’t necessarily a bad thing, there are some things these characters just wouldn’t do (Piccolo and Vegeta falling madly in love? Come on, that’s horribly out of character if you’ve seen the series), so we need to bend their personalities a little to get them where we want them in a story. Just remember, too much bending is a bad thing. It not only irritates the reader (who really wants to see the character, not something that’s so horribly twisted it is no longer the character), but it is also in bad taste.

Step One: Study the characters

Get to know them intimately. You want to know these characters better than you know your best friend. Know them inside and out. Get a definite picture of them before you start to write. When you watch the series they’re in you might want to write down little things about them that you noticed. For example; In Gundam Wing, Trieze Khushrenada seems to enjoy roses quite a bit. He’s seen bathing in rose water, and carrying more than one rose around. In Final Fantasy VIII, Zell Dincht can often be seen moving, he’s rarely seen sitting still. Obviously he’s a person who’s, a; nervous, or b; energetic. These things you notice the characters doing can then be taken and elaborated upon. Remember, you aren’t creating these characters, you’re just using what has already been seen (or written) about them.

Here’s a non exhaustive list of Hobbies and Activities for Gohan to get you started.

Gohan’s Hobbies/Activities:

1. Reading: There’s countless episodes where we see him reading various books.
2. Massaging: If you remember the Cell Saga, Gohan and Goku went training for a whole year inside the Room of Spirit and time. There’s a scene where they’re taking a bath together, and Goku advices Gohan to massage thoroughly his body or he’ll get stiff muscles the next morning.
3. Whistling: In the Slug movie, Gohan is whistling a whole song. And that’s because of his whistling that Goku is able to defeat Slug, since Namekian cannot withstand whistling.
4. Painting/Drawing: If you remember the 3 years when Gohan trained daily with Goku and Piccolo, there’s one episode where they have to learn how to drive a car and Gohan is studying in his bedroom. In this scene we can see him drawing on his notebook a picture of Piccolo and Goku driving a car. There’s also this scene near the end of DBZ where teenager Trunks come to Gohan and Videl’s home. If you look very closely you can see there’s a scene where they’re in front of a fireplace. And just above the fireplace there’s a big painting of Namek, which suggest Gohan did it. Also a bit later in the same episode we can see another painting representing the small island on the Kai’s planet where Gohan removed the Zeta sword from the rock.
5. Swimming/Fishing/Scuba-Diving: There’s countless episodes showing Gohan performing those activities.
6. Camping: In the Turles movie “Three of might” we see Gohan and the other going to camp in the forest.
7. Baseball: During the Buu saga, when Gohan goes to Orange School, we see he’s initiated to baseball. There’s also the fact, his good friend Yamucha ended as a famous baseball player for a team named “The Titans”.
8. Stargazing: If you remember well the Cell saga, there’s one episode where they’re celebrating Gohan’s birthday, and if you look carefully you’ll notice Ox king gave him a telescope.
9. Studying Fauna: There’s countless of episodes where Gohan do that, either getting fascinated by butterflies, dinosaurs, tigers etc…
10. Meditating: This was part of his training routine with Piccolo. Also there’s a scene in the Buu saga where Gohan has to meditate several hours while the old kai is trying to freed his mystical powers.
11. Tinkering/Engineering: During the first episodes of DBZ Piccolo left Gohan in the wilderness for 6 months. There’s an episode where Gohan repair an old abandoned Robot that he founds inside archaeological ruins. There’s also an episode where in order to escape the desert where he’s trapped, Gohan build a sand yacht, and after it crashed, he build a small boat of his own. In DBGT we see him working with Bulma to create the spaceship Goku, Pan and Trunks will use to hunt the dragon ball through space.
12. Fencing: We often saw Gohan using swords like in his first training in the wilderness at the beginning of the Saiyan Saga or while he tried to master the Zeta Sword with Kaoishin and Kibito’s help during the Buu Saga.
13. Bicycle Riding: In the original opening of the Buu saga we see Gohan riding a bicycle.
14. Surfing: In the manga, there’s a small illustration of Gohan wearing a bath suit and holding surf board above is head. In the original opening of the Buu saga we also see Gohan driving a car with Videl. And on the car they’re carrying a surf board.

Step Two: Study the series

You want to be able to create a world around the characters that feels true to whatever series they’re from. Even if you’re writing an AU (alternate universe) story, knowing the storyline of the series will help keep things in perspective. Also, the storyline is often linked to the characters, so knowing the story helps us (fanfiction writers) to know the characters better.

Step Three: Write down everything

Any random thought or observation you have while studying the series, write it down. Try to organize things later so it’s easy to look back while you’re writing. These notes may later give you ideas on what to write, or even give you insight when you experience writer’s block or some other such thing.

Step Four: Become part of a community

Every writer needs friends. Join a message board, forum, Mailing List, or just visit chat rooms and discuss the series and characters with other people. Don’t adopt their opinions, but do keep yourself open to new ideas. Other people will most often have interesting insights or ideas about the series and characters that you might not have thought about. Once again, take notes. If something catchy is said, write it down. Save it for later. You never know where these little tidbits might come in handy. This step is the most important step when you’re getting to know the series you’re writing for. And the friends you make might later be your closest allies.

Writing the story:

Writing the story is sometimes the hardest part for some people. For me it was the easiest, the hard part for me is the research before you start writing. Once you’ve done your research though (and if you’ve done it well) the story writing shouldn’t be too hard. The most important thing during this process is NOT to share your story with anyone until it’s done. This might sound really hard, but it’s extremely important. More often then not the reason writers lose their inspiration is because they have received way too much input while they were in the process of writing. So, keep your story to yourself while you’re writing it. Don’t show anyone, under any circumstances (unless you’re writing the story with someone, and then an exception might be made).

This is very important! BEFORE you start writing, first figure out -why- you’re writing. If you’re not writing for you, don’t bother starting. Through all of this you must only write for you. The best fiction that you’ll ever write is the stuff that you yourself enjoy.

Step One: Brainstorm

I’m not going to tell you to write out a plot. In all honesty I write (or rather wrote) all the plots for my stories after writing the first few chapters. However, I will tell you this; Before you start writing, you need an idea. Something to base your story on. Maybe you think it would be cool to toss the boys of Argent Soma into a medieval setting. Or you were talking with your friends and someone mentioned that Aya (from Weiss Kreuss) looks like an angel. These ideas can be the start of a great story. So, write down any ideas you can think of. Things you would want to see in a story. Just free style write. Don’t worry about whether or not it makes sense. A lot of my notes for my brainstorming stages look pretty … disorganized.

Stupify (if anyone has read it >.<) came to life when I heard the song. From there I started to think about the characters in Final Fantasy VIII. So I sat down and wrote Chapter One. By the time I wrote Chapter Three I suddenly had the thought that it would be really cool if Laguna was really a clone. So that’s what I did. I played with that idea. In that particular series it could be pulled off because FFVIII is set in a futuristic world.

So play around! Listen to music, write down ideas that come to you while listening to the music. Just have fun. And, if you’re really stumped, ask a few friends what they would like to see in a story and if any of their ideas interest you, use them.

Step Two: Write

• Don’t Try to insert yourself into the story
• Don’t Use original characters. And if you must, be extremely careful how you do it.
• Don’t Correct your work while you’re writing. (The first draft is just a rough draft, so don’t worry about grammar or spelling. Correct all that later)
• Do Add a disclaimer, copyright information, your net name and email, any warnings that may apply (violence, explicit sex, profanity, and other things that might be in the story that others would find offensive), and pairing information (if you want. This is NOT mandatory but it can save some grief in the end).
• Don’t Add author notes to the end of every chapter. Only have author notes at the end of the entire story.
• Don’t Rush yourself. (Take your time! There is no rush. Besides, the story will be much better if you have taken your time)

Step Three: Correction

Once you’re done writing you’ll want to go back over it and fix the grammar and spelling, as well as other things that you may decide to change or take out. You might want to find a beta reader, they can be quite helpful, just remember; This is YOUR story, and if they suggest changing something that you don’t believe should be changed… don’t change it! It’s very important the you like your own work. If you can read it and enjoy it, then it’s probably as good as it’s going to get.

Getting your work read:

This is the hardest part of all this process. And the most important. No one writes essays on how to deal with the aftermath. Getting published is fairly simple. Find a website where you can post your work, or an Mailing List, or a fanfiction group, whatever, and post your stuff (once it’s completed).

Step One: Upload

Upload your work to an Mailing List (after making sure they accept fanfiction and making sure you’re posting the right series in the right Mailing List), or find a website or a forum where they accept fanfiction. If you’re really ambitious you can start your own website but that’s a whole other adventure.

Step Two: Network

Tell your friends about your work. Don’t beg them to read it, or pester them, just mention you have written a story and you’d really appreciate it if they read it. Keep your mind your friends interests when you do this though. If your fanfiction is in a series they don’t like, they won’t like your story either. Visit chat rooms, be nice to people and make sure that you’re highly visible. The more people you know, the more people will read your fiction, especially if you’re well liked.

Step Three: Relax

Sit back. Relax. If no one has read your fic yet, so what! You didn’t write it for them anyway (hopefully). All that matters is that you enjoy the fic. Everything else is inconsequential.

The Aftermath:

Once people have read your fiction, they’ll start making comments. Especially if your work is good. There are some things every writer needs to know about this part of the process.

Number One: Keep your head

If you’re receiving a lot of praise don’t let it stroke your ego too much. This can put a lot of pressure on a writer. So, if you’re receiving endless praise, accept it, but realize that these same people could turn on you the next time you write something. Don’t start to expect praise, or get cocky, you’ll lose your friends and your fans if you do. ALWAYS be nice to everyone who makes comments. Even the people who make not so nice comments. These people took time out of their lives to look at your work, so give them some respect in turn. They didn’t have to read, and they don’t have to read what you write next. Remember that.

Number Two: Criticism

You’re going to receive it some time. When you do, don’t let it rip you apart. If the person has something constructive to say, and are complaining about once specific part of your story, take that into consideration, but don’t let it ruin your enjoyment of writing. Criticism can sometimes be good, because it can help you grow and become a stronger writer. So don’t write off people who give you criticism. They can be your best friends sometimes. Be polite to them if you do respond to them.

Number Three: Back to the drawing board

Keep writing. Write, write, write… the more you write, the better you’ll get. Read a lot as well. As you do, you’ll figure out what you like and what you don’t. That’s important stuff to know when you’re writing.

Have fun. If you stop having fun, you need to stop writing. Fanfiction writing is a hobby. It will never make you money, so don’t do it if you’re not enjoying it.

That’s it.

Don’t be afraid to take the first step.

The best writers are the writers who don’t conform. These are the people who have original ideas, and don’t copy others. They have confidence, but are humble. They have a deep love for fiction, but first they have a deep love for the characters.

Paper/Cardstock
Pencil
Eraser
Ink Pens (Not Sharpie Brand)
Scanner
Computer
Photoshop Program
Patience

Introduction:

For purposes of making this as easy to understand and not overwhelm anyone, I have divided this tutorial into two sections. In this first section we will mainly deal with the actual drawing and inking of the piece. The second section will dealing with colouring it. I use Adobe Photoshop, so this tutorial will be using that for the colouring. Please keep in mind that this is how I do my art, but that doesn’t mean that it’s the best or only way to do it. This is simply meant as a guide to hopefully answer questions and help people who are just starting out. With that said, onto the tutorial!

Part One: Drawing

First Step:

The first step to any drawing is to come up with a concept. If you’re having trouble you can always look around you for inspiration. I find photographs, art books, artwork and silly stuff my friends do are helpful for coming up with concepts. Once you have a concept, grab your drawing surface and lightly do a gesture drawing. A Gesture drawing is just a very rough sketch of what you plan to do. Use light strokes, shapes and lines to map out what you want to do. Light pencil marks are easy to erase.

For a person, start with a circle for the head then a line indicating the backbone. This gives you a line to follow where the action of the body is. Draw blocks or polygons for the rest of the body. You can see how I did this in Figure 1. This isn’t supposed to look nice, so don’t worry about it smudging.

Second Step:

Now that you have an gesture drawing that you think will work, it’s time to add a little more substance to it.

Fill it in by blocking in more solid shapes for where the chest, arms, hands, feet (if they’re in your picture), abdomen, etc. Correct any positioning problem that you see. Human bodies bend a certain way, so if it helps look in a mirror or grab a friend and pose them so that you can see how the body looks in that position. Don’t worry about getting every finger or toe in at this point. You’re still just seeing if this concept will work or not. There have been plenty of times where I’ve gotten to this step and decided to erase the whole thing and start over.

Third Step:

If you feel that the drawing is going to work and you haven’t started over, it’s time to get serious. Start sketching in the features of the body.

The face is an important feature and you should spend some time sketching it in, but skip the hair for now. (Not everyone does, but I do for the sake of my sanity.) Remember, the eyes are even with each other and the top portion of the ears while the earlobes and the bottom of the nose are even with each other.

Hands and feet are notoriously hard to draw. (For that reason, I’ve decided to not include feet in this drawing.) If you want to do them correctly, spend some time studying your own. I still have plenty of problems with them, but practicing helps remarkably. (Here’s some scans from a human figure drawing book, they can be extremely helpful specially if you don’t have the opportunity to take figure drawing classes. )

Leave off any clothes that your character might wear until you’ve created a body for them to go on. This helps you see how the clothes lay on them later.

Fourth Step:

Add the hair and clothing. This step can take a while as you decide what hair style, what the hair is doing, and what clothes the person is wearing.

Fifth Step:

Firm up all your lines so that they stand out from the lighter ones. Basically this is so that you don’t accidentally wander off on the wrong line while inking. I find it helpful at least.

Sixth Step:

Taking a pen (I use Microns since they’re available and reasonably priced around here) follow your firmed lines and ink in your drawing. When you’re done, erase all the pencil marks off the picture. You should be left with solid black lines.

Some people go over their lines twice with a different size of pen tip, it’s up to you to decide whether or not you want to. Now you’re ready to scan.

Part Two: Colouring

Seventh Step:

Scan drawing into your computer at roughly 300dpi or above. The reason for this is that you always want to work with a larger resolution because you can shrink the image down and it’ll still look good, but not the other way around. For the purposes of this tutorial, we’ll be using Adobe Photoshop. Create a white or transparent Background and put your original image on top of it. Mark the original image layer as Original Image. Next create a layer and name it Base Colour and place it on top of the Original Image (OI) layer. Go into the layer settings and change the Base Colour (BC) layer to “Multiply”. Multiply will allow you to see the underlying layer through the layer you’re working on.

Eighth Step:

Using the Magic Wand tool, go back to the OI layer and select the part of the picture you wish to work on first. Return to the BC layer and chose your colour. This is your base colour for the picture. Don’t worry about shadows or highlights now, just get your colours in.

Ninth Step:

Using the Paint Bucket tool, fill in the selected area on the BC. Repeat steps eight and nine until you’ve put a base coat on the entire picture.

The Magic Wand technique is not necessary, but it’s very helpful. You can, by using the Brush, Pencil or Airbrush tool, colour in the picture as well. It can take longer, but you can also get a cleaner edge. I usually Magic Wand the area, colour it, deselect it and using the Brush or Pencil to clean up the spots the Magic Wand missed.

Tenth Step:

Continue working on the BC layer until it is all coloured in. Now, you can also work on the background of the piece in this layer, but I don’t recommend it. It’s better to work on your main figure or point of interest in the picture first before worrying about what type of setting they’ll be in. You do need to know what setting or background the figure will be in when you start out your drawing initially. You can draw and ink it in along with the figure creating everything you’ll need for the picture right away. Or you can create the setting in Photoshop, which is what I’m doing here.

Once your BC layer is finished, create another layer and place it on top of the BC layer. Label that layer Shadow Colour or Shadow Layer (SL).

You can either set this layer setting on Multiply or Normal. I tend to use Multiply for this layer. This does mean that whatever colour you choose as your shadow colour will be darker when you actually paint it on, it’s just how the Multiply function works. It allows you to see the layers below, this includes the colours below. You can decide which way looks better for your picture once you have the shadows in as well. (I usually test to see after I’ve coloured in the shadows which way looks better.)

Eleventh Step:

Pick a colour that is several shades darker than the base colour. This will be the colour of the shadows for that section. Take the Magic Wand and select the area you wish to shadow on the BC layer then make sure you are on the SL before colouring. (I’ve had many pictures that got messed up and I had to redo portions of because I wasn’t careful which layer I was working on. Always check.)

Using the Airbrush, Pencil or Brush tools, begin colouring in that section. Make sure you know where your Light Source is. The Light Source is where the light is coming from in your picture. You place shadows and highlights according to where your Light Source is. (If you’re having problems visualizing where the Light Source is, create another layer, label it Light Source and draw a sun with an arrow pointing in the direction of where the light is going.) If you discover that you need to darken an area even further than your initial shadow, pick a darker colour and darken that area.

If you’re trying to go for a soft look to your piece, I would recommend the Airbrush tool. For animation cell-like looking pieces, use the Pencil or the harder brushes of the Brush tool.

Remember to save your work often. If your computer crashes of freezes, you don’t want to start over.

Twelfth Step:

Once you are done with the shadows, create a layer and name is Highlight Colour or Highlight Layer (HL). Leave this layers’ setting at Normal. If you change it to Multiply, you won’t see the highlights at all. Make sure you place HL above SL. This is very important otherwise you will once again be unable to see the highlights.

Thirteenth Step:

Pick a colour that is several shades lighter than the colour on the BC. Using the Airbrush, Pencil or Brush tools, begin putting in highlights.

Once again, keep in mind your Light Source. Depending on what your lighting situation is, whether the person is having a green, blue, red, etc. lighting source, you need to pick the appropriate highlight colour.

For example, if the figure were standing under a stained glass window, you’ll want to pick the appropriate highlight colour for where the different coloured glass shines on them. Or if they’re on a beach at sunset, then you’d want redder or more orange highlights. It all depends upon the lighting situation in the picture. So choose wisely.

Remember that a little goes a long way with highlights. Too much and it can ruin the picture quickly.

Fourteenth Step:

If you’re creating some foreground objects, you’ll want to continue on with this step. If not, skip down to the next step.

Create a layer and name it Objects.

Using Magic Wand, the Polygon tool or how ever else you plan on creating the object (some people free hand them in), make the object(s). Place the Object layer where appropriate for your piece. If they’re going in the foreground, make sure they are in above the BC, SL, and HL layers. If they’re in the background, place it below the BC, SL, and HL layers.

Put the base colour on the object(s) and then repeat the steps you took for your figure. Create both a SL and an HL for them or use the original SL and HL layers. It’s all about preference and how complicated the picture it to begin with. For this tutorial I’m doing something very simple, so I used the original SL and HL and didn’t make separate ones for the Object layer.

Fifteenth Step:

If there is any white that is supposed to be showing through, such as the whites of the eyes, you’ll want to go to the BC and, using Magic Wand, select the entire coloured section. The easiest way is select the not coloured area and Inverse the selection. (Inverse is a function usually found in the Select pull down tab.) By doing this, you capture all the coloured section without the hassle of selection each part individually.

Create another layer below the BC, label it White and using the Paint Bucket tool, fill the selected area with white. This will alleviate any problems that will crop up when you later remove all the white from the OI.

If you wish to make your black outline have colour, then continue on with this step and the next.

On your OI, select the black outline, Inverse to select all the white instead. After that use Cut (found in the Edit drop down tab) to cut out all the white leaving you with only your black outline. This can be a troublesome point if your lines have any grey around them.

I’ve found the best way to solve this is by initially scanning on the Black and White setting. Unfortunately this can create a very pixelated look to the lines on a low dpi. (I usually have problems due to the way my scanner is, so I scan using a Gray Scale instead and darken my black outline in Photoshop to avoid the problems. It’s trial and error for this.)

After cutting out the white, move the OI above all the other layers. Click on the box that says Preserve Transparency. Leave layer at Normal setting.

At this point you need to decide if you want to colour your outline or leave it black.

Sixteenth Step:

Make sure you’ve clicked the Preserve Transparency box. I’ve noticed that Photoshop Elements doesn’t have this option, or at least the version I have doesn’t. If you don’t have that option, using Magic Wand, select the black outline if you wish to colour the outline.

Choose the appropriate colours and start colouring the OI. You only want to colour the outline, so make sure you are on the right layer and have everything selected properly.

Once done, save then flatten all the layers except the very bottom Background layer. You do this with the Merge Down (found in the Layers drop down tab). Take the Magic Wand and select the area around the flattened image.

Seventeenth Step:

Go to the Background layer and colour in your background if it wasn’t part of your original figure. For this tutorial I did something very simple, a gradient.

This is one of the easiest ways to fill the space. You can also do solid colour, polka dots, another image, whatever. Crop it down to the size you want it, getting rid of anything you don’t want (like in this tutorial, the place where the legs cut off.) When you’re done, sign the piece using the Type tool or if you have a tablet, you can actually sign it. Flatten all the way down and save as a completely new file. This way you’ll still have your Photoshop file with all the layers in case you want to go back later and change something or make a variation.

That is it. You’re finished. You now have a complete work of art that you can put on your website, email to a friend, or just keep for your own enjoyment.

And now for your enjoyment here’s some animated gif that shows how other artists proceed. As I told you before, all artists have their own unique technique.

Art by Rena Sama

Art by P.L.Nunn

Art by Ponderosa

Art by Lory

Art by Noux