★ chebureko ★

18 | he/him | thangyu addict 😔 cursed with an inconsistent art style

[eruchanfrogs]

My Namgyu 💅

[dgaftilwedie]

does anyone give a fuck about gyeongsu anymore or is that just me and @chanyeolsdoggy

[ochebureko]

i hate hating that i joined the squid game fandom late cuz it was literally my fault 😭

back when each season was released everyone around me was saying how good it was and how i should watch it too, so ofc my stupid ass decided to do exactly the opposite and completely avoid it

i remember a classmate yapping to me abt thanos multiple times back when season 2 was released and i did not careee why did i not careee

and here i am now, being completely consumed w squid game and thangyu since december 2025 😔 which ik is not that late of a time to get into it but ahhh looking at how many older posts there are makes me wishhh i’d just fucking watched it earlier I MISSED SO MUCH TT

[ochebureko]

he can finally see!!!! ft. thanos’ floating head

[degenerateshinji]

This is kinda oddly specific, but I really like the way you do clothing folds/wrinkles. How do you do them? 😭😭

thats it. send post. thank you for coming. hope this helps.

but alr welcome back to art class w taylor. the secret here is that drawing the folds themselves doesnt matter at all, just draw triangles. What matters is the outer shape of the clothes.

i was really happy when i got the link click artbook, cause i really like these drawings by INPLICK

you can see the triangles, first off. love triangles. but more importantly i really like how she uses very stark/clear geometric shapes to define the clothes. if you look at the first image, you can see that the folds in lu guang's clothes affect the outer shape and create bumps on the outline. and the bumps is more triangles!!! yayyy!!!!! I like the second reference for Lu Guang a lot cause you can see how the shape of his overshirt gets distorted by the way its folding around his hand in his pocket and how it changes the whole shape of the shirt's outline.

the qiao ling drawing i like cause you can clearly see the overlap of the different layers of clothes, which makes them look very three-dimensional, even if, when you analyse the drawing, you can see there's actually little to no clothing folds visible on qiao ling at all

but alr geometric shapes, folds at tension points that change the outline of the clothes and a clear overlap makes for good expressions of fabric! my favourite application of this in my art in recent times is probably this piece of mine

i'm really happy with how the fabric of lu guang's sweater turned out, so let me break it down

naked jumpscare lmfao but it is IMPORTANT to first sketch out the body underneath, because the clothes will follow the form of the body. What's important in this piece since it's two characters interacting is where they're touching each other and how. Xiaoshi is supposedly holding Lu Guang tightly enough that he can lift him off the ground like this, so i imagine that the fabric where his arm is is very bunched up. His shirt will be slightly ridden up and tense at the bottom because of this, and very light and baggy at the top because there's no tension there.

here's a small breakdown of the different ways the clothes are interacting with lu guang (and xiaoshi holding him) and why the folds are drawn the way they are. After i draw this general outline of the clothes, i start adding in smaller, triangular shapes that follow the form and gravity that i've established to make clothing folds. If i go in and erase the folds I've drawn, you can see the piece still reads.

just to give another example, here's a piece with dramatic wind where the clothes are flowing outwards. (READ MY NONVERBALGUANG AU PLEASE)

if i take out all the Stuff you can see it better lol

if i take out all the folds again and highlight the outer shape, you can see i used clear geometric shapes to define his overshirt and focused on overlaying the different layers of fabric (his arm in front of him, the back of his shirt showing.

in this rare case where the wind is dramatic, gravity isn't primarily determining where his clothes are flowing but rather the wind. Keep in mind, though, his clothes still have weight, which is why even though the wind might be coming harshly from the right, his clothes aren't going straight to the left, but rather being pulled left and downwards.

then!! last one! I think this piece is a good example to show the difference between baggy and skintight clothing and how to draw folds for them. For skintight clothing, it follows the form of the body so directly that there isn't much room to mess with the outer shape of the lines without making it look baggy. That's why in this piece you can see i only drew small folds at the tension points where Lu Guang's legs are bent meanwhile, his baggy shirt overlays (OVERLAY!!!!) nicely over the tights and sags downwards. that's what the triangles (TRIANGLES!!) weighing down over his waist are for. (it sounds like something simple, but i really struggled for a long time to make baggy clothes look baggy because i didn't know that i could just make a tucked in shirt overlay the pants like this😭😭now i do it for like every piece it's a lifesaver)

Also a relevant thing to note is this part (small outline to see where his arm is for reference) where the sleeve is baggy but comes to a point at his wrist.

the gravity tugs the fabric downwards, reaches its lowest point, and then flows back upwards into where it's tight around his wrist. This is common in sweaters with tight/stretchy waistbands and wristbands or sweatpants which converge like this at the ankle. I thought i'd mention. The tension in this situation (because his hand is raised) comes out of the point on his wrist, but if he had his hands down, then gravity would take over as the primary cause of tension, and similar to how his shirt is overlapping his tights in this piece, the baggy sleeve would overlap the tight point around his wrist

hope that wordvomiting all my knowledge of fabric to you helped!! let me know if i missed something lmao. I can't advocate enough for finding references of irl fabric to draw from or finding artists you like and trying to make a replica of their work. Drawing my INPLICK replica really helped me understand that i suck at fabric way more than i thought lmfao. If you're looking for an artist who knows way too much about how to make fabric look good it's her.

[thangyus]

thinking about subong going to an all-boys high school and the entire time he's just like this is so laaaaaaaaame where are all the CHICKS and so very often during school hours subong will ditch class and run over to the other high school nearest to his which is a co-ed school, he'll jump the fence and sneak onto the campus during break times and try to obscure his uniform so nobody knows he's out of place, just so that he can talk to girls because there's none at his school.

he gets caught obviously. several times. but he's always fast enough to outrun the teachers at this other school, so he always gets away, but getting caught never deters him from coming back. the students at this school he always visits all know him, of course everyone knows about that weird kid from genjutsu high school who comes by their campus every so often, tries to flirt with the first girl he sees and fails pathetically, before getting chased away by a teacher...

everyone there knows him. especially namgyu, who witnessed this whole thing happening first hand when the infamous genjutsu kid came up to him and his friend, semi, and tried to ask semi out on a date. his flirting attempt didn't work, obviously- semi barely had time to reject him before their homeroom teacher stepped out into the hallway and noticed the boy in the wrong-coloured uniform and he ran away, but not before sending a wink to semi and telling her that hopefully they'll meet again soon, and then disappeared down the hall and out the building.

afterwards, semi laughed about the whole thing, talking about how lame that guy had been... but namgyu can't stop thinking about him. he can't get the image of the other kid out of his mind- that confident smile, those bright eyes, the smoothness of his voice with the way he delivered that pickup line...

namgyu knows the other boy hadn't been talking to him, but his heart continues to flutter for the rest of the day, the butterflies in his stomach reviving every time the encounter replays in namgyu's mind.

[orrr49]

Headcanon: Namgyu always laughs at Thanos' jokes, even those that Thanos himself considers stupid and unfunny. Thanos starts to think Namgyu is sucking up to him because he's a celebrity or because he's kind of the leader of their team at the games, but the truth is that Namgyu is just very easy to make laugh

[ochebureko]

didnt know sketching in purple would make me lock in for some doodles ily purple

[ochebureko]

sleepy (ignore how i gave up w the blanket lmaoo)

[nalonzooo]

hi nikki!! how do you choose the references for the poses? The poses in your drawings seem so grounded, natural, and organic; i struggle a lot with that! (thanks in advance for reading my q!)

hi!! thank you sm the kind words 🖤 i’ll try to go more in-depth here about how i pick and “translate” my refs into my art—

((again the usual preface of what works for me might not work for others and pick art advice that works for you etc etc))

so i usually just scroll through pinterest and look for more candid poses of people in action/motion, not looking at the camera—i think that helps with the “natural” feel. i also take a lot of inspiration from existing art from artists i admire, who make the kind of art that i want to make. my challenge is how to make my art without taking heavy/obvious inspiration from existing art or outright copying it from photo refs.

the thing is - having marinated myself in pinterest for years - sometimes i see an artwork and the first thing i think of is the ref because i recognize it >< (i’m just speaking for myself and this is purely a me problem, ofc not everyone thinks like this). so this has informed how i approach my refs—i try to tweak it a bit so it’s not a direct copy. (important to note though that this is just a personal preference and i don’t do this all of the time—if i find myself thinking too hard about my art then it doesn’t get drawn! also it’s totally ok if you do direct copies or inspo of photo refs—it really all depends on what you want to convey as an artist. besides, sometimes some of my poses come out wonky bc i tweak it too much haha) ((also if i have a ref that’s my own photo, even if it’s a photo of my own hand, i outright copy it bc it’s my photo anyway and not available anywhere else)).

most of the time i try to change some part of the pose to better fit the characters i am drawing. here’s an example:

left is the ref, right is the sketch - so i had the base or what i felt was the most “anchoring” part of the ref down - geto carrying gojo - and at first i thought it’d be cute to have gojo throw his head back in laughter and his glasses fall off (ok looking at it now, it’s still cute, i’m 🥹) but i thought it’d feel more in-character to have gojo kind of flexing, showing off, teasing geto a bit, and geto being so easy for him and endeared, laughing and threatening to drop him. it felt much more “them” to me. so i looked up a ref of a guy flexing from the side and ended up with this sketch below on the left (final output is on the right). i still had to figure out the pose a bit bc he now didn’t match the original ref (hence the boxes in the first picture).

so again - pick a pose with movement, and tweak it a bit!

(i pretty much frankensteined this pose—it doesn’t always work but most of the time i go more with vibes than accuracy and it’s okay haha 🚬🥲)

also, regarding translating the ref to 2D, especially if you’re using a photo image of people - these things don’t always look good if you copy them 1:1, which is why animators always suggest “pushing” the pose. i always try to keep a sense of movement in my art, and “pushing” the pose helps that, and helps transform it a bit more from the ref. this will definitely help in making the pose feel more “organic”—more like a drawing, and less like a photo. (if you want a look at how artists push poses, i highly, highly recommend following zeet studio’s instagram account and taking a look at their stories. the way artists have translated models to paper is just incredible and inspiring to me always).

sometimes i’m able to draw without a reference but this is only possible because i have drawn from refs or live drawings and have practiced beforehand because every time we draw, it builds up our visual library. this is why i would suggest trying our very best not to outright trace references - or you have to trace smartly (for example, using the shrimp method - which is literally so simple and smart).

also as another practice: think about the same pose but in different ways. for example, i have a favorite pose to draw satosugu in. because i am deranged about them and i sincerely enjoy the idea of gojo catapulting himself into geto’s arms, i have drawn this many times and i’m always like rotating them in my mind - how would it look from this angle? with this arm placement? what if i tilt them a bit? i built up a ref board of this carrying pose and drew it over and over in different ways until i can pretty much draw it without a ref 😆 and i think i improve a little bit more every time i draw it in terms of angling, weight, posing. it becomes more and more “organic”.

ONE LAST THING in terms of making a pose feel “grounded” - i highly suggest looking at the gege’s manga panels. like he really knows how to make a character stand—they feel heavy, weighted, powerful. think of where the character is resting their weight in the pose, and how the line of action or the “energy” of the pose flows from there. these ones of geto, for example:

((these are so fun to look at ><)) i also personally like to draw a bit of shadow under the character - it helps place them on 3D plane too.

sorry i yapped away again but i hope this helps in any way! <3

[namgyusgeishatattoo]

tiktok so funny i had to repost it here

[namgyusgeishatattoo]

tiktok so funny i had to repost it here

[mini-namgyu]

Mini nam-gyu says: 40 likes…and i’ll dump a glass of water on my head. Repost if ur Brave

[thangyus]

this is one of my fav gtop videos ever bc they're both just so adorably dorky lol BUT ALSO i'm imagining choi su-bong and his very first attempt at releasing music where he looks and acts like this during his very first debut, long before "thanos".

the thanos lore in my thangyu fic is that before he debuted as "thanos", su-bong tried releasing music under a few different names but all those attempts flopped until eventually when he became the character of "thanos" he blew up and that was his big break. SO before "thanos" i am imagining that for su-bong's very first debut and his very first attempt at music, he looked like this and this was exactly his vibe and AAAHHHH im going crazy about it and i need everyone to think about this as well

[thangyus]

read chapter 3 of heartache on the big screen! 💚 🎥 🎤 💜

how will namgyu respond to thanos’ offer? what will he say? what’s the next step for the both of them? read now to find out 😼

[orrr49]

I don't know why an AU appeared in which Namgyu is the son of Minyeo and Deoksu, but I really like it

[nikoco11]

wavin at you. so question: how’d you get so good at drawing bodies? i’m pretty decent at them but you can draw bodies from just so many angles and in so many perspectives and that’s always hard from me. do you use references? how do you break the body down to be able to do those perspectives so well?

waving back at u hello!! tagging in ur other questions here so i can knock out as much as i can at once ^_^

i use lots of references! i used to use them by drawing over the silhouettes of poses i found on pinterest.

i don’t have any easy tricks or shortcuts to proportions unfortunately :’D i picked it up from observation just by doing this for so long.

it’s a fun way to learn, but can be restraining in terms of stiffness and also making u really dependent on seeing a reference before u can think of how to draw a certain pose.

now, i focus on what lines a body follows rather than the silhouette. i try to keep every section of the body to no more than 1-3 lines when first sketching.

doesn’t matter if the lines are accurate, just be bold w them!!!!!

this is a lot easier to me than breaking the body down into shapes, and it keeps everything more fluid.

it’s on these lines where i choose to exaggerate as well!!!

my fav exaggerations to do are flipping between curve/straight/curve/straight.

for example: on the left leg, i made the curve of the calf more pronounced while stiffening the straight line of the shin.

or on the skirt, i simplified the edges to single straight lines and the hem to one long curve :D

this comes back to my 1-3 lines habit, where i try to simplify everything as much as i can, but also it comes down simply to observation and practice…..which is unfortunately the worst answer ever but it’s true LOL my sketchbooks are packed right now, but i have many many pages of completely fucking up and drawing a leg one thousand times too long. the best thing to do is to draw quickly and boldly, even if it’s wrong 100 times, than to sit down and take forever trying to get it correct on the first try.

pen and marker sketching will force u to do this LOL. it helps to find pens and markers that are fun to use, especially for scribbling, bc then u will look forward to drawing more even if it turns out bad!!!