Where Can I Read Kawaii Drawing: Learn To Draw More Than 100 Super Cute Things Online?

If you want a straightforward path to drawing Deku, I’ve got a go-to routine I use that turns messy scribbles into something recognizable without overcomplicating things. I start with basic shapes — an oval for the head, a light cross for eye placement, and a rectangle for the torso. From there I block in the hair mass; Deku’s hair is spiky but rounded at the tips, so I sketch loose zigzags and then refine them into clumps. Next I break his face into thirds to place the big, expressive eyes typical of 'My Hero Academia', adding the signature forehead scar and freckles. For the body I think in cylinders: neck, shoulders, arms, then add his school uniform or hero costume as simplified shapes before detailing. Shading is minimal at first: flat shadows under the chin and around the hairline. For guided material I like a mix: a short YouTube step-by-step for pacing, a Pinterest step-layer image for reference, and a DeviantArt or Tumblr breakdown for pose ideas. If you want specific practice drills, I do 10-minute face studies, 5-minute hair clump sketches, and then a single full-body pose once I feel comfortable. That combo — structure, focused drills, and reference layering — is what finally turned my scribbly Deku into something I’d actually post. It’s honestly so satisfying when the eyes start to feel alive.

Picking up a pencil and trying to copy Deku's poses is honestly one of the most fun ways kids can learn how bodies move. I started by breaking his silhouette into simple shapes — a circle for the head, ovals for the torso and hips, and thin lines for the limbs — and that alone made a huge difference. For small hands, focusing on the gesture first (the big action line) helps capture the energy before worrying about costume details from 'My Hero Academia'. After the gesture, I like to add joint marks at the shoulders, elbows, hips, and knees so kids can see where bending happens. Encouraging them to exaggerate a little — stretch a pose or tilt a torso — makes copying easier and gives a cartoony, confident look. Using light lines, erasing, and redrawing is part of the process, and tracing is okay as a stepping stone if it's paired with attempts to redraw freehand. Give them short timed exercises: 30 seconds for quick gestures, 2 minutes to clean up, and one longer 10-minute pose to refine. Pairing this with fun references like action figures or freeze-framing a 'My Hero Academia' scene makes practice feel like play. I still get a rush when a sketch finally looks alive, and kids will too.

Let me walk you through my favorite setup for drawing Deku if you want something simple but effective. I start with a couple of pencils: an HB or B for construction lines and a 2B or 4B for darker linework and quick shading. A small, soft kneaded eraser and a clean vinyl eraser are lifesavers — kneaded for gentle highlights and vinyl for stubborn marks. For paper, a smooth sketchbook or a sheet of Bristol (smooth surface) keeps lines crisp and works well if you decide to ink. For inking I like thin-felt pens (0.1–0.5) and a brush pen for hair strands and dynamic line weight. If you want color later, cheap alcohol markers or a handful of colored pencils (greens, skin tones, and a few neutrals) cover Deku’s palette. For easy tutorials, pick ones that break Deku down into simple shapes: circle for the skull, cross-line for facial direction, rectangles for the torso. Tracing paper or a window tracing method is perfect for early practice, and a lightbox is a nice upgrade. Practice expression sheets, three-quarter head rotations, and quick gesture poses to capture his energy from 'My Hero Academia'. I find this combo keeps the process fun and not intimidating, and I usually end up smiling at the results.

I get a real kick out of digging up references, and for 'Deku' there's a goldmine if you know where to look. Start with anime frames: queue up scenes from 'My Hero Academia' on YouTube, slow them to 0.25x and use the comma and period keys to step frame-by-frame. I make a small folder of screenshots — run, punch, breath, expression — and they become my go-to animation references. Besides screenshots, I lean on pose apps like Easy Poser or DesignDoll to recreate tricky foreshortening; you can tweak limb lengths until the silhouette reads like the anime. For facial and costume details, Pixiv and Instagram hashtags like #dekudrawing or #izukumidoriya are full of stylistic studies and expression sheets. I also use GIF extractors (ezgif.com) to pull a handful of keyframes from fight sequences; then I trace loosely to learn motion flow before drawing freehand. Pro tip: import the keyframes into Krita or Procreate, turn down the opacity and onion-skin the next frame — your in-betweens will feel way more natural. This workflow keeps things simple yet accurate, and I always end up smiling at how much more confident my sketches look.

I find that practice is the single most useful thing you can do to get better at drawing Deku in simple comic panels. When I break it down, what really changed my work was doing tiny, focused drills: quick gesture sketches for 60 seconds, three-frame expressions, and practicing the same punch pose from different angles. Those little repetitions build muscle memory so you stop overthinking every line and let the character feel alive. I also mixed study with play: I’d pull frames from the 'My Hero Academia' manga and anime to see how the artist handles speed lines, head tilts, and panel layout, then I’d redraw them as simplified thumbnails. Thumbnailing helped me decide what to show and what to cut away. Over weeks you’ll notice your storytelling improves — pacing, camera choices, and facial clarity. It’s satisfying to watch a page go from messy sketches to readable, punchy panels, and I still get a kick out of tiny wins like cleaner expressions or better motion.

My favorite part of 'The Rising of the Shield Hero' is how practical and character-driven the skill growth feels — it's not just flashy power-ups, it's skills that reflect trauma, trust, and teamwork. Naofumi’s progression is the spine of that: he learns shield-based combat that goes far beyond bracing for hits. Early on he’s forced to rely on defensive stats and passive buffs, but over time he acquires ways to materialize different shields and to layer defensive effects — healing, elemental resistances, barriers and even retaliatory properties. There’s also a lot of crafting and item work tied into his path; he develops methods to combine and enhance shields, and to imbue them with supportive spells. Importantly, many of his most useful “skills” are social or tactical: monster-taming, party management, and negotiating for resources. Raphtalia’s arc is built around swordsmanship and adaptability. She starts as a frightened child and grows into a skilled swordswoman who masters combos, speed-based slashes, critical timing, and tracking techniques. Her training also includes status-resistance and counterattacks born from battlefield experience rather than textbook moves. Filo brings an entirely different toolkit — Filolial biology gives her aerial mobility, brute-force attacks, rapid growth transformations into a larger, queen-like form, and a surprising utility as both mount and front-line brawler. All three develop passive boosts (like stat growths and resistances) and active tactics (formation, baiting, and combined skills) that make them feel like a cohesive team rather than three isolated archetypes. What I love is how the skills constantly tie back to worldbuilding: shields aren’t abstract; they’re artifacts tied to spirits and stories. Watching the cast learn not only makes combat more interesting, it deepens the characters, and I keep rooting for them every time they figure out a new trick or patch up a weakness — it feels earned and satisfying.

If you want the cheapest super restores in 'Old School RuneScape', your first stop should be the Grand Exchange — hands down. The GE gives you live buy and sell prices, lets you compare trends over days and weeks, and it's the most liquid place to move stacks of potions fast. I check the GE every time before buying to avoid overpaying, and I use the historical price graph to see whether the market is peaking or dipping. Beyond the GE, I scout community markets: the subreddit trades, Discord trading servers, and clanmates can sometimes offer bulk deals that beat the GE fees if you’re buying thousands. If you have decent Herblore, making super restores yourself can be cheaper after factoring ingredient cost — so compare the cost-per-dose on the GE vs. crafting. Finally, use tools like the RuneLite Grand Exchange plugin or 'GE Tracker' and the 'OSRS Wiki' price page to get accurate numbers. Personally I mix GE buys with a few trusted player trades when I need massive supplies; it saves me coins and the hassle.

Studying real faces taught me the foundations that make stylized eyes feel believable. I like to start with the bone structure: the brow ridge, the orbital rim, and the position of the cheek and nose — these determine how the eyelids fold and cast shadows. When I work from life or a photo, I trace the eyelid as a soft ribbon that wraps around the sphere of the eyeball. That mental image helps me place the crease, the inner corner (where an epicanthic fold might sit), and the way the skin softly bunches at the outer corner. Practically, I sketch the eyeball first, then draw the lids hugging it, and refine the crease and inner corner anatomy so the shape reads as three-dimensional. For Asian features specifically, I make a point of mixing observations: many people have a lower or subtle supratarsal crease, some have a strong fold, and the epicanthic fold can alter the visible inner corner. Rather than forcing a single “look,” I vary eyelid thickness, crease height, and lash direction. Lashes are often finer and curve gently; heavier lashes can look generic if overdone. Lighting is huge — specular highlights, rim light on the tear duct, and soft shadows under the brow make the eye feel alive. I usually add two highlights (a primary bright dot and a softer fill) and a faint translucency on the lower eyelid to suggest wetness. On the practical side, I practice with portrait studies, mirror sketches, and photo collections that show ethnic diversity. I avoid caricature by treating each eye as unique instead of defaulting to a single template. The payoff is when a stylized character suddenly reads as a real person—those subtle anatomical choices make the difference, and it always makes me smile when it clicks.