Researching musculature images really helped me out. Learning how the muscles interact with each other, even just in principle, informs how the body part flexes from relaxed to in tension.

“Form follows function” is another. Though applying this to storytelling is challenging. Adding a character for the sake of just a new character is wasteful, so having a reason for why the character propels the story forward becomes mind bending. It also reinforces your creativity over how you tell the story. To borrow from Shakespeare, “All the world (world building) is a stage, all the men and women mere players”.

@Maryam Mohammed The best advice I can provide is to figure out your mapping. The width of the head is roughly five equal eye width’s across. What helps me to draw out the head as a sphere first. For the purposes of this demonstration I will assume a straight on view. Drawing an inverted triangle from the brow line as the base and the vertices as the tip of the lip placement. Bisecting the triangle will give you the rough placement of the nose. And drawing squares at the intersection points of the triangles will give you the placement for the eye sockets. I’ve found it works at different angles, just remember this accounts for the entire eyeball, not the portions of skin that obscure it to build the lids and tear ducts. Hope this helps!

Bring it! I’m ready!

Nice stuff! What are you working towards? You have a really great exaggerated style, kind of like Robert Crumb. Very unique!