OC Drawing Ideas

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OC Drawing Ideas: 30 prompts

Royal court AU: your OC, grateful and embarrassed about it, pushing through a crowd going the other way, wearing an outfit that reads clearly as a black silhouette, with a moss-backed forest spirit the size of a cat.

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  • Timeline or AUroyal court AU
  • Emotiongrateful and embarrassed about it
  • Scenepushing through a crowd going the other way
  • Outfitan outfit that reads clearly as a black silhouette
  • Companiona moss-backed forest spirit the size of a cat
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    Prompt of the day

     

    1. Royal court AU: your OC, grateful and embarrassed about it, pushing through a crowd going the other way, wearing an outfit that reads clearly as a black silhouette, with a moss-backed forest spirit the size of a cat.
    2. Vampire AU: your OC, defiant, landing badly from a jump, wearing an outfit that shows their job at a glance, with a horse that only listens to someone else.
    3. Canon, an ordinary day before the story starts: your OC, fizzing with excitement, cooking for more people than the pot was made for, wearing a knitted jumper with sleeves over the hands, with a tiny clay golem that copies everything they do.
    4. 1980s AU: your OC, smug, stacking firewood against a wall, wearing their usual outfit loosened after a long day, with a pigeon carrying a message on its leg.
    5. Canon, in old age: your OC, pretending to be surprised, sheltering from the midday sun in a strip of shade, wearing a cook's apron after a long shift, with a cloud of moths that follows their light.
    6. Local newspaper AU: your OC, laughing and close to tears, counting out coins and coming up short, wearing a parade uniform with every button polished, with a duckling that has decided they are its mother.
    7. Pirate AU: your OC, alert and listening for something, sorting through a box of things they had forgotten, wearing three scarves against a cold house, with a rival they refuse to look at.
    8. Bookshop AU: your OC, hopeful for the first time in a while, climbing a tree to get a better look, wearing full formal dress with a collar that is too tight, with the person they are trying to impress.
    9. Coffee shop AU: your OC, grateful and embarrassed about it, sharpening a tool by firelight, wearing desert travel wraps against sun and sand, with an empty chair they keep looking at.
    10. Noir detective AU: your OC, about to cry and hiding it well, tuning an instrument by ear, wearing a fancy outfit ruined by one large stain, with a house spirit that refuses to stay in the house.
    11. Fairy tale AU: your OC, acting braver than they feel, teaching a move they only half remember, wearing what a younger sibling thinks they should wear, with a grandparent who is faster than they look.
    12. Steampunk AU: your OC, relieved, standing up in a very small boat, wearing a cheap costume of themselves, with a long-lost twin.
    13. Vampire AU: your OC, suspicious, mending a tear in something they love, wearing full winter layers with only the eyes showing, with a many-eyed creature that only wants to help.
    14. Lighthouse keeper AU: your OC, embarrassed, tidying a shelf that was already tidy, wearing their usual outfit with twice the detail, with a tortoise that is somehow keeping up.
    15. Canon, ten years before the story starts: your OC, homesick, warming their hands around a hot drink, wearing a hand-me-down they have almost grown out of, with a rook that walks at heel and refuses to fly.
    16. Monster AU, where they are the creature: your OC, determined, squeezing through a gap slightly too narrow, wearing their usual outfit in one colour only, with a donkey carrying everything they own.
    17. Canon, in old age: your OC, bluffing, writing something and crossing most of it out, wearing their usual look redone for deep winter, with a small dragon asleep across their shoulders.
    18. Swapped roles AU, hero and villain trade places: your OC, disgusted, climbing down a rope into the dark, wearing full formal dress with a collar that is too tight, with an old teacher who still gets their name wrong.
    19. Canon, the week they nearly gave up: your OC, hiding a laugh behind one hand, balancing on a narrow beam high above the floor, wearing an outfit of straight lines and sharp angles, with an older sibling who does everything better.
    20. Canon, as their rival would describe them: your OC, determined, repairing something with the wrong tools, wearing climbing gear dusted with chalk, with a shy shadow creature that hides from lamps.
    21. Bike courier AU: your OC, fond and not hiding it, crossing stepping stones over fast water, wearing climbing gear dusted with chalk, with a house spirit that refuses to stay in the house.
    22. Edwardian AU: your OC, loudly angry, skimming stones across still water, wearing a ceremonial robe that drags on the floor, with a familiar that thinks it is in charge.
    23. Bakery AU: your OC, bored stiff, setting out lanterns for a festival, wearing sleep clothes and odd socks, with a small child who will not stop asking why.
    24. Canon, as a teenager still growing into the look: your OC, triumphant, sitting halfway up a staircase to listen, wearing a masquerade costume with a half mask, with an old enemy, under a temporary truce.
    25. Ancient Egypt AU: your OC, smiling politely and only with the mouth, three moves from losing a board game, wearing a hand-me-down they have almost grown out of, with an older sibling who does everything better.
    26. Canon, the morning after the story ends: your OC, frightened and frozen, crossing stepping stones over fast water, wearing three scarves against a cold house, with a shy shadow creature that hides from lamps.
    27. Post-apocalyptic AU: your OC, embarrassed, running late with something urgent under one arm, wearing their usual outfit in one colour only, with a phoenix chick that singes everything it touches.
    28. 1990s AU: your OC, hiding a laugh behind one hand, catching something fragile just above the floor, wearing an outfit that shows their job at a glance, with their best friend, who is no help at all.
    29. Bakery AU: your OC, overwhelmed, ducking under a low beam a moment too late, wearing a dance outfit made for spinning, with a shy shadow creature that hides from lamps.
    30. Monster AU, where they are the creature: your OC, confident but for one small doubt, counting out coins and coming up short, wearing an outfit built around one oversized accessory, with a lantern spirit that lights the way badly.

    Next step Get a pose for this scene

    Timeline or AU: all 82 universes

    Their own timeline 18

    • canon, an ordinary day before the story starts No plot yet. Draw what they do when nothing is at stake.
    • canon, as a child of seven Work out which one feature was already there at seven, and keep only that.
    • canon, as a teenager still growing into the look The signature item is there, but it does not fit or suit them yet.
    • canon, as their best friend would draw them A kind caricature. Which feature does a friend draw first?
    • canon, as their rival would describe them An unkind caricature. Push the two features the rival always notices.
    • canon, but the big decision went the other way One choice flipped. Show what it cost or saved in what they wear and carry.
    • canon, in old age Same silhouette, softened. Keep one item they would never give up.
    • canon, in the first design you ever made for them Dig out the old sheet and redraw it straight, with what you know now.
    • canon, on a day off nobody else knows about No uniform, no role. What do they choose when nobody is looking?
    • canon, on the best day of the story Their usual design at its cleanest. This is the reference sheet version.
    • canon, on the worst day of the story Pick what is damaged: the outfit, the prop or the posture. One is enough.
    • canon, redesigned as if you made them today Keep three things from the old design and let everything else move.
    • canon, ten years after the story ends Decide what they kept: the coat, the haircut or the habit.
    • canon, ten years before the story starts A first version of the outfit, and none of the wear and tear yet.
    • canon, the day they got their signature item Draw the item new. It has not earned its dents yet.
    • canon, the day they met their closest ally They are a stranger here. Draw the guarded version.
    • canon, the morning after the story ends The big thing is over. Show it in the shoulders before the face.
    • canon, the week they nearly gave up Let the design slip: something unwashed, unfastened or left behind.

    Everyday AUs 20

    • allotment garden AU Mud to the knees, a flask and a shed. What do they grow, and is it in straight rows?
    • bakery AU Flour to the elbows and a 4 a.m. face. Give them one burn on a forearm.
    • band AU Pick their instrument before anything else. It sets the hands and the posture.
    • big city AU Nobody knows them here. Dress them for a crowd and a long walk.
    • bike courier AU A bag slung across the back, one trouser leg rolled, a helmet. Catch them halfway off the saddle.
    • bookshop AU Dust, a cardigan and a ladder. Which shelf do they hide behind?
    • coffee shop AU No powers and no quest. The apron and the name tag carry the character.
    • flatmates AU Draw their half of the room. The mess, or the lack of it, is the character.
    • flower shop AU Green stains, wet cuffs, scissors in a pocket. Which flowers would they stock?
    • high school AU Same personality in a uniform or a hoodie. What is in the bag?
    • laundrette AU Their usual outfit is in the drum. Draw what they wear when everything else is in the wash.
    • lifeguard AU A high chair, a float and a squint into the glare. They watch the water, never the viewer.
    • lighthouse keeper AU Oilskins, a lamp to tend and nobody for miles. Draw them small against the tower.
    • local newspaper AU Notebook, pencil behind the ear, coat never off. They are always about to leave.
    • modern-day AU For fantasy and historical OCs. Translate each garment: the cloak becomes which coat?
    • museum night guard AU A torch, a uniform and eight hours of silence. Light them from below.
    • night market stall AU Pick what they sell first. A string of bulbs overhead puts warm light on hair and shoulders.
    • small town AU Everyone knows them here. Dress them for being recognised.
    • summer camp AU A camp shirt, a whistle and insect bites. Are they the fun one or the strict one?
    • theatre company AU On stage, in the wings or up the lighting rig? Each wears different blacks.

    Genre AUs 23

    • animal AU Choose the animal by temperament, not looks. Their markings become fur or feathers.
    • cyberpunk AU Neon rim light and one visible piece of tech. Decide what is grown and what is fitted.
    • fairy tale AU Give them a fairy tale role: youngest child, woodcutter, the one who warns.
    • fantasy AU For modern OCs. Translate backwards: the hoodie becomes which cloak?
    • ghost AU The same design at lower opacity. Decide which one colour survives.
    • heist crew AU Give them one job on the crew: planner, climber, talker or lookout.
    • magic academy AU Design the uniform first, then decide how they break the rules on it.
    • mecha pilot AU Flight suit, helmet under one arm. The machine wears their colours.
    • monster AU, where they are the creature Keep the silhouette and the colours. Change the species.
    • noir detective AU Two values and a hat brim. Light them from a single window.
    • pirate AU The golden age of piracy ran from the 1650s to the 1730s, if you want references.
    • post-apocalyptic AU Everything is mended or repurposed. Show three repairs.
    • royal court AU Rank shows in the fabric and how much of it. Who are they at court?
    • silent film AU No spoken lines, so the pose does all the talking. Work in black and white.
    • solarpunk AU Green roofs, mended clothes, tools on the belt. Hopeful and lived-in.
    • space opera AU A flight suit or a captain's coat? Keep their palette on the ship too.
    • steampunk AU Brass, leather and rivets, but give every gadget a job.
    • storybook AU, drawn for six-year-olds Round shapes, flat colour and five details at most.
    • superhero AU Design the costume and the day-job version. The second one is harder.
    • swapped roles AU, hero and villain trade places Trade the palettes too, and see what still reads as them.
    • tiny AU, ten centimetres tall Everything around them is now huge. A teacup is a bath.
    • vampire AU Drain the palette and keep one warm accent. Formal wear, a century out of date.
    • western AU The Old West is sometimes dated 1865 to 1890. Put dust on everything below the knee.

    Historical AUs 21

    • 1920s AU Waists drop to the hip, hems sit just below the knee by 1925, cloche hats over bobbed hair.
    • 1950s AU Ask a relative for a photo album before you search online.
    • 1970s AU Work from real family photographs. The colours in them have shifted, so check twice.
    • 1980s AU Find a school photo from the decade and copy the hair before anything else.
    • 1990s AU What would they have had on the bedroom wall? Draw the room as well as the outfit.
    • ancient Egypt AU Linen, mostly left undyed: wrap skirts belted at the waist, strap dresses to the ankle, wigs, kohl.
    • ancient Greece AU Rectangles of linen or wool, draped and pinned, hardly cut or sewn: chiton, peplos, himation.
    • ancient Rome AU A tunic for everyone. The toga was formal wear for adult male citizens; married women wore a stola and a palla.
    • Belle Époque AU Europe, 1871 to 1914. Choose a city and a year, then find photographs.
    • early 2000s AU Recent enough that someone you know has photographs. Borrow them.
    • Edo period AU Japan, 1603 to 1868, under the Tokugawa shogunate. Look up real garments first.
    • Edwardian AU 1901 to 1910, often stretched to 1914. Photographs exist, so use them.
    • Heian court AU Japan, 794 to 1185. Court women wore many layered robes in colours chosen by season.
    • Joseon AU Korea, 1392 to 1897. Five centuries, so choose a reign and look up the dress.
    • Mali Empire AU West Africa, about 1235 to 1610. Find real references first; do not guess the clothes.
    • medieval AU Roughly the 5th to the late 15th century, so pick a century and a country first.
    • Regency AU 1811 to 1820 strictly. Waistlines sit just under the bust; tailcoats, cravats up to the chin.
    • Renaissance AU The 15th and 16th centuries on the narrow count, centred first on Florence.
    • Tang dynasty AU China, 618 to 907, with the capital at Chang'an. Find real references for the dress.
    • Victorian AU 1837 to 1901. That is a long reign, so choose a decade before a silhouette.
    • Viking Age AU About 800 to 1050. Look up museum finds before you draw any helmet.
    How this list was compiled

    Original list written for Draw This Next, September 2026. An AU is an alternate universe: the same character moved out of their own story (their canon) into another setting. The term and its meaning were checked on 2026-09-18 against https://en.wikipedia.org/wiki/Parallel_universes_in_fiction#Fan_fiction, the article that https://en.wikipedia.org/wiki/Alternative_universe_(fan_fiction) redirects to. The hints are our own redesign suggestions. Every date and garment named in a hint was checked on 2026-09-18 against the English Wikipedia articles at https://en.wikipedia.org/wiki/Clothing_in_ancient_Egypt, https://en.wikipedia.org/wiki/Clothing_in_ancient_Greece, https://en.wikipedia.org/wiki/Clothing_in_ancient_Rome (the toga note was corrected against it on 2026-09-19), https://en.wikipedia.org/wiki/Tang_dynasty, https://en.wikipedia.org/wiki/Heian_period, https://en.wikipedia.org/wiki/Viking_Age, https://en.wikipedia.org/wiki/Middle_Ages, https://en.wikipedia.org/wiki/Mali_Empire, https://en.wikipedia.org/wiki/Renaissance, https://en.wikipedia.org/wiki/Joseon, https://en.wikipedia.org/wiki/Edo_period, https://en.wikipedia.org/wiki/Golden_Age_of_Piracy, https://en.wikipedia.org/wiki/Regency_era, https://en.wikipedia.org/wiki/1795%E2%80%931820_in_Western_fashion, https://en.wikipedia.org/wiki/Victorian_era, https://en.wikipedia.org/wiki/American_frontier, https://en.wikipedia.org/wiki/Belle_%C3%89poque, https://en.wikipedia.org/wiki/Edwardian_era and https://en.wikipedia.org/wiki/1920s_in_Western_fashion. Where a costume detail could not be checked, the hint gives the dates only and tells you to find references. Licence: own work

    Emotion: all 66 emotions

    Bright 14

    • completely at peace Every joint slightly bent and nothing held. Soft brows, loose hands.
    • content and a little sleepy Heavy lids, slow smile, the head resting on whatever is nearest.
    • curious Leaning in, head tilted, one brow higher than the other.
    • fizzing with excitement Weight on the toes, brows up, hands that cannot keep still.
    • fond and not hiding it Head tilted, soft eyes, a smile that reaches them.
    • hopeful for the first time in a while Eyes up and brows slightly raised. The smile has not quite arrived.
    • mischievous One brow up, chin tucked, a closed smile pulled to one side.
    • openly delighted Mouth corners pull up, cheeks lift and crow's feet form. The eyes smile too.
    • pleasantly surprised Brows up, upper lids raised, jaw dropped a little, then the mouth corners lift.
    • quietly proud Chin level, chest open, a small closed smile. Nothing needs proving.
    • relieved Shoulders drop, breath goes out, eyes close for a second.
    • smug Head tipped back a little, lids half down, smile pulled to one side.
    • triumphant Arms up or fists clenched, chest out, chin high. The biggest silhouette they have.
    • trying not to laugh Lips pressed, cheeks full, shoulders up. The eyes give it away first.

    Low 13

    • bored stiff Cheek propped on a fist, lids half down, one foot tapping.
    • defeated Spine curved, head down, hands open and empty.
    • disappointed and saying nothing A long breath out through the nose, mouth flat, eyes to one side.
    • embarrassed Eyes down or away, shoulders in, a hand finding the back of the neck.
    • guilty Cannot hold a gaze. Chin down, shoulders rounded, hands busy with nothing.
    • homesick Looking past whatever is in front of them. A hand on some small object from home.
    • lonely Arms close to the body, extra space left around the figure on the page.
    • numb A flat face and a still body. The lack of reaction is the expression.
    • overwhelmed Wide eyes, raised shoulders, hands half lifted as if to stop everything.
    • quietly sad Inner ends of the brows lift and the mouth corners drop. No tears needed.
    • tired to the bone Everything hangs: lids, shoulders, hands. The head sits forward of the spine.
    • wistful A faint smile under sad brows, eyes on the middle distance.
    • worried Brows drawn together and slightly up, lower lip caught, fingers fidgeting.

    Sharp 13

    • alert and listening for something Head cocked, eyes unfocused, the body stopped halfway through a movement.
    • contemptuous One mouth corner tightens, on one side only. The rest of the face stays flat.
    • defiant Chin up, eyes level, feet planted wider than the shoulders.
    • determined Brows low, jaw set, weight forward over the front foot.
    • disgusted Nose wrinkled, chin pushed up, mouth corners pulled down.
    • frightened and frozen Brows raised and pulled together, eyes wide, lips stretched sideways.
    • impatient Arms crossed or fingers drumming, weight shifting, eyes on the exit.
    • jealous A sideways look from under low brows, mouth tight, arms folded.
    • loudly angry Brows down with the eyes wide under them, jaw forward, the whole body leaning in.
    • quietly furious Brows down and together, lids tight, lips tightened thin. Nothing else moves.
    • startled Brows up, upper lids raised, jaw dropped. Weight jumps back onto the heels.
    • stubborn Arms folded, chin down, heels dug in. The pose is a closed door.
    • suspicious Eyes narrowed, head turned slightly away while the eyes stay on the target.

    Two at once 13

    • amused against their will A frown on top, a mouth corner escaping below.
    • angry at themselves more than anyone Anger turned inward: brows down, eyes shut, a hand in the hair or over the face.
    • caught between a smile and a sigh Soft eyes on something small held in both hands.
    • confident but for one small doubt An open stance and a single glance back over the shoulder.
    • curious and a little afraid Leaning in from the waist while the feet stay where they are.
    • excited and slightly sick with nerves A grin with raised brows, and one hand flat on the stomach.
    • fond and exasperated at once Eyes rolled up, smile staying put. Hands on hips.
    • grateful and embarrassed about it A small smile aimed at the floor, a hand rubbing the other arm.
    • happy for someone and sad for themselves A real smile that fades at the edges. The eyes drop first.
    • laughing and close to tears A laughing mouth under sad brows. Draw the brows first.
    • proud and terrified in equal parts Chest out, eyes wide. The top half and the bottom half disagree.
    • relieved and then immediately annoyed Shoulders down from the relief, brows already coming together.
    • torn between two choices The body faces one way and the head turns the other.

    Hidden or faked 13

    • about to cry and hiding it well Chin slightly raised, blinking, lips pressed. Inner brows lift a fraction.
    • acting braver than they feel A big stance on top. Look for the tell lower down: knees, hands, a swallow.
    • bluffing Too relaxed by half. Let one detail be held too carefully.
    • faking confidence badly Chest out, shoulders up by the ears. The two do not go together.
    • furious behind a perfectly polite face A pleasant mouth and tight lids. The smile stops under the cheekbones.
    • hiding a laugh behind one hand The hand covers the mouth, so the eyes and shoulders do the laughing.
    • holding back something they badly want to say Lips pressed, a breath held high in the chest, one hand half raised.
    • keeping a secret and enjoying it Lips pressed over a smile, brows up, looking anywhere but at you.
    • pretending not to care Body turned away, eyes sliding back to check.
    • pretending to be calm A still face and a giveaway somewhere else: white knuckles, a bouncing heel.
    • pretending to be surprised Brows and mouth perform it, but late, and the eyes stay calm.
    • putting on a show of being fine A smile held a beat too long, with tired eyes above it.
    • smiling politely and only with the mouth Mouth corners up, cheeks and eyes unmoved. That gap is the whole drawing.
    How this list was compiled

    Original list written for Draw This Next, September 2026. Each hint is a drawing cue. The face cues for joy, sadness, surprise, fear, anger, disgust and contempt follow the action units listed for those expressions in the Facial Action Coding System, checked on 2026-09-18 against https://en.wikipedia.org/wiki/Facial_Action_Coding_System, and the difference between a full smile and a polite one was checked the same day against https://en.wikipedia.org/wiki/Smile. The posture and hand cues are our own suggestions, drawn from ordinary figure-drawing practice, and a character may well show a feeling differently. Licence: own work

    Scene: all 102 scenes

    Quiet moments 21

    • checking their reflection in a dark window Two faces to draw: the real one in profile, the reflection paler and lit from the room.
    • counting out coins and coming up short Coins in a neat row on the palm or the table. The pause shows in a thumb held over the last one.
    • drawing a map from memory Eyes up and unfocused, pen still moving. Looking away from the paper is how memory reads.
    • eating breakfast standing up Plate in one hand, weight on one hip, eyes already on the door. The hurry is in the feet.
    • hesitating in a doorway One hand on the frame, weight on the back foot. Half the body is lit by the room ahead.
    • lighting a lamp in a dark room One small light source under the face. Everything beyond arm's length drops to black.
    • looking out of a window at first light Cool light flat on the face, warm dark room behind. A good scene for a two-colour palette.
    • mending a tear in something they love Work held close to the face, thread pulled long. What the object is tells us about them.
    • packing a bag for a journey they did not plan What goes in first says who they are. Draw the bag open and one item still in the hand.
    • reading a message they were never meant to see Light the face from the page or screen. The shoulders turn away from the room to shield it.
    • sitting halfway up a staircase to listen Body folded small, head turned to the banister. The light comes from the room they are not in.
    • sitting on a roof watching the street below A high viewpoint behind them works: small figure, big drop, knees drawn up for balance.
    • sitting on the floor with their back to a door Knees up, head back against the wood. The door frame gives you a ready-made upright composition.
    • sorting through a box of things they had forgotten Kneeling on the floor, objects fanned out. The one item held longer than the rest is the story.
    • studying a portrait of someone they resemble Match the two heads in angle so the likeness reads. A test of how well you know their face.
    • tidying a shelf that was already tidy Fingertips nudging one object by a hair's width. Nervous energy with nowhere else to go.
    • unpacking in a room that is not home yet Bare walls, one open case. Let the single object they have placed with care carry the scene.
    • waiting on a doorstep for someone who is late Seated low with elbows on knees. Show the wait with a long empty street beside them.
    • warming their hands around a hot drink Both hands wrap the cup and the shoulders round in over it. Steam is a reason to soften the face.
    • watering a plant that is not going to make it A tender tilt of the can over two brown leaves. The care is in the wrist, the joke in the plant.
    • writing something and crossing most of it out Hunched over, free hand in the hair. Crumpled pages around the chair count the attempts.

    Weather and outdoors 20

    • caught in a downpour halfway home Wet hair lies flat and changes the silhouette. Decide whether they run, hunch or give up.
    • climbing a tree to get a better look Three points of contact and one hand shading the eyes. Branches break the outline, so keep the pose clear.
    • crossing a rope bridge that sways with every step Hands wide on both ropes, feet placed heel to toe. The sag of the bridge shows their weight.
    • crossing stepping stones over fast water Caught mid-stride between two stones, arms wide. The next stone is a little too far.
    • following tracks through fresh snow Crouched low, one glove off to touch the print. Two trails run behind: theirs and the one they follow.
    • lying in long grass watching clouds Foreshortening practice: draw from the feet or from directly above. Grass hides what you cannot solve.
    • picking their way down a slope of loose stones Body side-on to the hill, uphill hand out. Each foot tests the ground before it takes weight.
    • reaching for fruit on a branch just too high Full stretch on tiptoe, one line from toes to fingertips. The free arm swings back for balance.
    • rowing a small boat through fog Put them mid-glance over one shoulder, oars lifted and dripping. Fog lets the background fade to plain paper.
    • sheltering from the midday sun in a strip of shade Pressed flat to a wall to fit the shadow. Hard-edged shade and bleached ground say the heat.
    • skimming stones across still water A low sidearm throw: knees bent, shoulder dropped, wrist flicked. Rings on the water track the last try.
    • standing at the edge of a frozen lake A flat white space ahead of a small figure. One toe tests the ice and the weight stays on the shore.
    • standing on a cliff edge above the sea Put the horizon low and the figure small. Clothes pulled upward by the wind show the drop without drawing it.
    • wading across a river with their things held high Arms straight up, water at the waist. The current pushes the legs one way and the lean goes the other.
    • waiting out a storm under a bridge Frame them in the dark arch with bright rain beyond. Dry ground marks the edge of the shelter.
    • walking along the top of a wall with arms out Arms level like a tightrope walker, eyes on the feet. One foot goes directly in front of the other.
    • walking into a wind strong enough to lean on Tilt the figure further than it could stand in still air. Every loose end points downwind.
    • walking through a field of sunflowers at noon Tall flowers hide the body, so the head and shoulders do the acting. At noon the shadows pool at the feet.
    • watching a storm come in from a hilltop A back view works. Dark sky fills two thirds of the frame and the wind arrives before the rain.
    • watching the sun go down from a harbour wall Seated with legs hanging over the edge. Rim light down one side, a long shadow behind.

    Hands busy 22

    • building a fire with damp wood Down on the elbows, cheeks full, blowing at the base. More smoke than flame, and eyes watering.
    • carrying far too much in one trip A leaning stack held under the chin. The spine arches back to balance what the arms cannot.
    • cooking for more people than the pot was made for A pot filled to the brim, stirred with care. Bowls stacked in the background count the guests.
    • digging a hole already too deep to climb out of Draw from above, looking down the hole. Only the head, the shoulders and a flying spadeful show.
    • feeding birds that have no fear of them at all Birds on the head, shoulders and wrist change the silhouette. The pose is someone trying not to move.
    • hanging washing on a line in a high wind Pegs in the mouth, arms overhead, a sheet wrapping round them. The cloth shows the wind direction.
    • hauling a heavy rope hand over hand Lean back until the rope holds them up. Heels dug in, one hand reaching past the other.
    • kneading dough with flour up to the elbows Weight goes through straight arms into the heels of the hands. Flour marks where they touched their face.
    • loading a cart that is already full One more box pushed up at full stretch. The load leans the way it will fall.
    • painting a sign with a steady hand Little finger braced on the board, breath held. The brush hand is the still point of the whole pose.
    • polishing something until it shows their face Small circles with a cloth, head tilted to check the shine. Draw the warped face in the surface.
    • practising the same move for the hundredth time Show the wear: scuffed floor, rolled sleeves, sweat. By now the pose itself should look easy.
    • repairing something with the wrong tools A spoon as a lever, a shoe as a hammer. Tongue out, face close: concentration beats competence.
    • scrubbing a floor on hands and knees Weight on one straight arm, the other reaching forward. The wet patch shows how far they have got.
    • sharpening a tool by firelight Warm light from low on one side. Head bowed over the work, eyes following the edge and not the viewer.
    • stacking firewood against a wall Arms loaded to the chin, one log placed with the free fingers. The neat stack is a pattern to play against.
    • stirring a pot with a recipe in the other hand Eyes on the page, not the pot. The split attention is the pose: two hands doing unrelated jobs.
    • sweeping up something that broke Crouched with brush and pan, eyes on the pieces. What the pieces used to be is the rest of the story.
    • teaching a move they only half remember Arms held mid-demonstration while the eyes look up for the rest. Certain body, doubtful face.
    • threading a needle on the fifth try Both hands meet close to one squinting eye. A tiny target with the whole body tensed round it.
    • tuning an instrument by ear Head tipped towards the sound, eyes shut or far away. One hand turns a peg by tiny amounts.
    • wrapping a bandage round their own hand One end held in the teeth. A one-handed job makes an awkward, specific pose worth acting out first.

    Mid-action and trouble 19

    • balancing on a narrow beam high above the floor A low camera looking up sells the height. Arms out, eyes fixed forward, never down.
    • blocking a doorway with both arms spread An X shape filling a rectangle. Symmetry makes them look immovable, so break it if they are bluffing.
    • catching something fragile just above the floor A full-length dive with fingers under the object. Eyes on the thing, not on the landing.
    • climbing down a rope into the dark Light only from above, fading down the body. The feet clamp the rope and the eyes look down past them.
    • climbing in through a window One leg over the sill, head ducked under the frame. Half the body sits in each of two light sources.
    • dropping everything they were carrying at once Hands still in the carrying shape with nothing in them. The objects hang mid-air at different heights.
    • ducking under a low beam a moment too late Draw the frame of contact: eyes shut, head knocked back, feet still walking forward.
    • hanging from a ledge by one hand One straight arm takes all the weight and that shoulder rises to the ear. The legs search for a hold.
    • hiding behind a door that does not quite close A strip of face in the gap, one eye lit. Flattened against the wall, breath held.
    • holding a door shut against whatever is outside Back to the door, legs braced long, heels sliding. The door bows inward a little at the top.
    • jumping a gap between two rooftops Mid-air at the top of the arc, front leg reaching, back leg trailing. Show the drop between the walls.
    • landing badly from a jump The frame after contact: one knee buckled, arms flung out for balance. Dust at the feet dates the impact.
    • outrunning something small and furious Knees high, looking back over a shoulder. Keep the pursuer tiny: the scale is the joke.
    • pulling one foot out of deep mud Both hands hauling on one knee while the standing leg sinks deeper. The boot may not come with the foot.
    • running late with something urgent under one arm A full running stride with one arm pinned. The free arm swings twice as hard to make up for it.
    • sliding down a steep roof A seated slide, heels braking, hands flat behind. Loose tiles skitter ahead to show the speed.
    • squeezing through a gap slightly too narrow Sideways, breath in, chin up, one arm through first. Clothing snags where the body is widest.
    • standing up in a very small boat Knees bent, arms wide, the boat tilted one way and the body the other. Rings spread on the water.
    • tripping on the last step of a staircase The body is already past the point of recovery, arms forward. The trailing foot is still hooked on the step.

    Crowds and occasions 20

    • arriving far too early for a party One figure in a big room of empty chairs. A gift held in both hands, coat still on.
    • carrying a banner at the head of a parade Both hands on the pole, the pole leaning into the wind. Chin up: they know everyone is looking.
    • carrying a cake across a crowded room Cake held high on flat palms, elbows in, body turned sideways to slip between backs.
    • crossing a finish line half a step ahead Chest thrown forward, head back, arms behind. Put a rival's shoulder in frame to show how close it was.
    • dancing with nobody in an empty room The arms hold the frame of an absent partner. Let the hair and the hem swing to show the turn.
    • giving a speech to a room that stopped listening Notes in one hand, the other hand mid-gesture and slowing. The eyes flick up from the page to check.
    • haggling at a market stall Arms folded, head tilted, one eyebrow up. Or palms open and hurt. Pick which side of the bluff they play.
    • opening a parcel with no name on it Held at arm's length, lid lifted with two fingers, face leaning away. Curiosity against caution.
    • performing on a small stage to a full room Draw from behind them: a spotlit outline and a dark sea of heads. Or from the front row, looking up.
    • pushing through a crowd going the other way One shoulder forward like a swimmer, arm out ahead. Everyone else faces the viewer and they alone face away.
    • queueing for something with no end in sight Weight slumped onto one hip, head dropped back. A line of matching backs runs off the page.
    • setting out lanterns for a festival Many small warm lights from below. Crouched to set one down, face lit by the one in their hands.
    • sitting for a formal portrait A stiff, held pose is the point. Find the one place they fail to hold it: a foot, a smirk, a hand.
    • sneaking food from a feast table Face turned innocently one way while the arm reaches the other. The cheeks may already be full.
    • standing at the back of a crowded celebration Backs and raised arms fill the frame. Find them at the edge, still, holding a cup they have forgotten.
    • telling a story beside a fire with both hands Light from below makes any face dramatic. The hands are mid-shape: a size, a claw, a creeping walk.
    • three moves from losing a board game Chin on fist, eyes darting over the board. One hand hovers over a piece it will not move.
    • trying a food they have never seen before Held up on a fork at eye level, nose wrinkled, head pulled back. The moment before the bite.
    • waiting to be called into an important room Perched on the edge of a chair, knees together, hands busy with a cuff. A big door beside a small figure.
    • waving goodbye from a quayside Arm at full height, up on the toes. Make them small against the water to show how far the ship has gone.
    How this list was compiled

    Original list written for Draw This Next, September 2026. Every scene is one awake character doing one thing, with no clothes, mood or era built in, so it can sit beside any entry from the other four lists. The drawing hints are our own suggestions from ordinary figure-drawing practice, and any scene can be staged another way. Licence: own work

    Outfit: all 77 outfits

    Swaps and borrowed clothes 15

    • a borrowed coat two sizes too big Tests whether the silhouette survives under someone else's shape.
    • a cheap costume of themselves What would a costume maker keep? Those three things are the design.
    • a disguise that fools nobody Find the one feature they could not hide. That is the core of the design.
    • a disguise that is working far too well Remove every signature item, then put a single one back.
    • a hand-me-down they have almost grown out of Short sleeves, tight shoulders. Whose was it first?
    • a uniform from the other side Same body in the opposing shapes and colours. Does it suit them too well?
    • clothes picked for them by a committee Every piece is sensible and none of it is them. Find what they changed back.
    • dry clothes lent by a stranger Nothing is theirs, so posture and face have to carry the character alone.
    • the outfit of whoever they admire most Aspiration shows in the fit. Too big, too new or exactly right?
    • someone else's hat without having noticed One wrong item on a finished design. See how loud it is.
    • their best friend's entire outfit Clothes chosen for another body and another temper. Show the misfit.
    • their mentor's old uniform Do they stand taller in it, or does it wear them?
    • their own outfit from five years ago What no longer fits, and what did they refuse to stop wearing?
    • their rival's colours Keep their own shapes. How wrong does the palette look on them?
    • what a younger sibling thinks they should wear A child's taste, applied without mercy. Let it clash.

    Dressed up 14

    • a ceremonial robe that drags on the floor A lot of fabric. Decide where it bunches, and who is standing on it.
    • a dance outfit made for spinning Design it mid-turn. The hem draws the line of action for you.
    • a fancy outfit ruined by one large stain Place the stain where the eye goes first. It is now the focal point.
    • a festival outfit with ribbons and bells Loose ends show movement. Let the ribbons trail behind the action.
    • a harvest festival outfit with a flower crown Choose the flowers from their palette, not the season's.
    • a masquerade costume with a half mask Half the face is covered, so the mouth and shoulders carry the emotion.
    • a parade uniform with every button polished Symmetry and straight lines. Where does their own shape break through?
    • a winter ball outfit with long gloves Covered hands lose detail, so the gesture has to be bigger.
    • clothes tailored to fit them perfectly for once If the usual look is scruffy, this shows the figure you have been hiding.
    • full formal dress with a collar that is too tight Tests the design at its stiffest. One finger goes to the collar.
    • plain black for a solemn occasion No colour to lean on. Shape and posture do all the work.
    • stage costume for a part they did not want Two characters at once: the role, and them underneath it.
    • their best clothes from ten years ago Well kept and wrong. Says more about them than new clothes would.
    • wedding-guest best that is slightly out of season Their palette, turned up one notch and pressed flat.

    Work and weather gear 18

    • a beekeeper's suit with the veil thrown back A shapeless white suit. Everything depends on the head and the stance.
    • a cook's apron after a long shift Stains tell the menu. Sleeves are rolled unevenly by now.
    • a gardener's outfit with soil to the knees Dirt follows the job: knees, cuffs, one cheek.
    • a guard's uniform one size too small Buttons pull and cuffs ride up. Authority, slightly undermined.
    • a healer's robes with stained cuffs Practical sleeves, tied-back hair, tools within reach of one hand.
    • a heavy travelling cloak with the hood down A cloak is one big shape. The head and hands are all that is left to read.
    • a messenger's uniform and a full satchel The strap cuts the torso on a diagonal. Use it for the pose.
    • a painter's smock stiff with old colour The smears are a record of palettes. Use colours from their own design.
    • a sailor's working clothes stiff with salt Faded by sun on top, dark in the folds.
    • a scholar's robes with ink on both sleeves Ink goes where the writing hand drags. Pick the hand first.
    • a smith's leather apron and rolled sleeves Heavy shapes below, bare forearms above. Scorch marks, not tears.
    • a work apron with every pocket full Name what is in three of the pockets before you draw them.
    • ceremonial armour never meant for fighting All surface and no movement. Show where it pinches.
    • climbing gear dusted with chalk Ropes and straps map the body. Draw them after the figure, not before.
    • desert travel wraps against sun and sand Loose, pale layers. Keep a single strip of their signature colour.
    • full winter layers with only the eyes showing Eyes and posture are all you have left for the emotion. Use them.
    • light armour that has been repaired many times Each repair is a story. Place three, and know what caused each.
    • rain gear that is losing the fight Wet fabric clings and darkens. Work out the dry colour first.

    Off duty 14

    • a blanket worn as a cape One big soft shape with a face at the top. Good for a simple silhouette.
    • a dressing gown at three in the afternoon Long vertical shapes and no structure. The belt is the only line.
    • a favourite old shirt worn thin at the elbows Soft fabric hangs closer to the body than new cloth does.
    • a hand-knitted gift they are too polite to remove An ugly garment worn with love. How do they carry it?
    • a knitted jumper with sleeves over the hands Hidden hands read as shy or cold. Decide which.
    • gardening clothes with bare feet Bare feet change the stance. The weight settles lower.
    • holiday clothes and a sunburnt nose Their palette, faded by sun. Add one souvenir they did not need.
    • nightclothes under a coat because it was urgent Two layers that do not belong together. Show both hems.
    • old clothes kept for messy jobs Faded versions of their usual colours, with history in the stains.
    • sleep clothes and odd socks The least designed they ever look. What stays on even now?
    • sports kit after the game rather than before Untucked, grass-stained, laces trailing. Tired limbs hang from the joints.
    • their usual outfit loosened after a long day Same design with every fastening one notch looser. Start at the collar.
    • three scarves against a cold house Bulk at the neck shortens the figure. Let the chin disappear.
    • whatever was clean and none of it matching Break their palette on purpose and see whether the shapes still say who it is.

    Redesign briefs 16

    • an outfit built around one oversized accessory Scale one thing up until it changes the silhouette.
    • an outfit in their least favourite colour Decide why they hate it. That is a piece of backstory.
    • an outfit of straight lines and sharp angles Angles read as sharp and guarded. Try it on your gentlest character.
    • an outfit that hides their job completely Then leave a single clue for anyone who looks twice.
    • an outfit that reads clearly as a black silhouette Fill it in solid black. If you can still tell who it is, it works.
    • an outfit that shows their job at a glance Use one tool and one mark of wear. More than that is a costume.
    • an outfit with a pattern taken from their home Tiles, weaving, a local plant. Pattern is worldbuilding you can wear.
    • an outfit with no straight lines in it All curves read as soft and friendly. Does that fit them, or fight them?
    • an outfit with one deliberate mismatch One wrong button, glove or boot. The eye goes straight to it.
    • their usual look redone for deep winter Add layers without losing the silhouette. Widen the shapes, keep the proportions.
    • their usual look redone for high summer Take layers away. What is the least they can wear and still be them?
    • their usual outfit in a three-colour palette Choose a main, a second and an accent. Most designs only need these.
    • their usual outfit in one colour only Monochrome: value and shape have to do what hue was doing.
    • their usual outfit simplified to five shapes What you cannot cut is the design. Everything else was decoration.
    • their usual outfit with twice the detail Add until it breaks, then make a note of where it broke.
    • their usual outfit with warm and cool swapped Shows which colour was really carrying the character.
    How this list was compiled

    Original list written for Draw This Next, September 2026. Each hint says what the change of clothes tests about the design. The hints are our own suggestions. Licence: own work

    Companion: all 65 companions

    People 19

    • a bodyguard who takes the job too seriously A big still shape close behind a smaller moving one. The guard scans the room and never looks at your OC.
    • a friend's OC, borrowed with permission Ask for their reference sheet and keep their colours exact. Getting someone else's design right is the gift.
    • a grandparent who is faster than they look Put the grandparent a stride ahead, not looking back. Your OC is the one out of breath.
    • a guide who is obviously lost The guide points one way with confidence and holds the map upside down. Your OC looks the other way.
    • a long-lost twin One face, two lives. Change the hair, the posture and the wear on the clothes, and keep the bones the same.
    • a mentor who is pretending not to watch Put the mentor in the background with a book or a cup. One eye over the top of it gives the game away.
    • a neighbour who knows everyone's business The neighbour leans over a fence or a sill, mid-sentence. Your OC is angled to leave and cannot.
    • a new apprentice on their first day The apprentice copies your OC's stance a beat late and slightly wrong. A mirror pose with errors.
    • a rival they refuse to look at Two figures, two eyelines that never meet. Turn the heads apart and let the shoulders point at each other.
    • a small child who will not stop asking why The child tugs a sleeve from below frame height. Draw your OC's patience at whatever stage it has reached.
    • a stranger who has mistaken them for someone else The stranger is delighted, arms wide. Your OC's body leans back while the face tries to stay polite.
    • a younger sibling in tow A height difference and one linked hand. The small one looks at everything, the big one looks ahead.
    • an old enemy, under a temporary truce Side by side, a careful arm's length apart. Hands visible, smiles thin, feet pointed away.
    • an old friend they have not seen in years The half second before the hug: arms starting to rise, faces catching up. Age them both a little.
    • an old teacher who still gets their name wrong Your OC shrinks a few years in posture: hands behind the back, weight shifting from foot to foot.
    • an older sibling who does everything better Same task, two results. Give the sibling an easy stance and your OC a slightly harder one.
    • another OC of yours they do not get on with A chance to check that two of your designs read as different people in silhouette.
    • the person they are trying to impress Your OC's pose is a performance: chest out, casual lean, too much effort. The other person may not notice.
    • their best friend, who is no help at all The friend leans, snacks or points while your OC does all the work. Contrast busy hands with idle ones.

    Animals 17

    • a barn owl watching from the nearest high place A pale heart-shaped face high in the frame. It gives the picture a second pair of eyes to follow.
    • a borrowed dog that does not know any commands A taut lead one way and your OC leaning the other. The dog looks delighted with how it is going.
    • a cloud of moths that follows their light Dots and small triangles, thickest around the lamp. They soften the light source and give the air some depth.
    • a donkey carrying everything they own The load is a second character study: what did they pack? Pile it higher than the donkey is tall.
    • a duckling that has decided they are its mother A tiny shape directly behind the heel, copying the route. Your OC checks before every step back.
    • a fox that stays exactly ten paces behind Set the fox in the middle distance, facing the same way. When your OC stops, draw it sitting.
    • a goat with no respect for property The goat is eating part of the scene: a sleeve, the map, the washing. Horizontal pupils make the stare flat.
    • a goose that has chosen them as an enemy Neck low and straight, wings half open, coming fast. Your OC's pose is already half retreat.
    • a hedgehog tucked in the crook of one arm One arm is now out of use, so the scene is done one-handed. Keep the hedgehog a spiky oval with a nose.
    • a horse that only listens to someone else Your OC pulls the rope one way and the horse's ears point another. Size makes the argument one-sided.
    • a parrot that repeats things at the wrong moment On the shoulder, beak open, head cocked. Your OC's hand is halfway to covering it.
    • a pigeon carrying a message on its leg A small tube tied to one leg. Land the bird on the hand, the head or the thing your OC is holding.
    • a rook that walks at heel and refuses to fly Put the bird on the ground beside their boots, like a dog. Small, black and very sure of itself.
    • a sheepdog trying to herd them The dog gets in front, fixes a hard stare and circles wide. Your OC is being steered and knows it.
    • a stray cat that has adopted them The cat sits on whatever your OC needs next. A cat at rest is a loaf or a comma: keep it simple.
    • a tortoise that is somehow keeping up Place it at your OC's heel in every version of the scene. Never draw it moving.
    • two ferrets heading in different directions Two long S-curves pulling two leads apart. Your OC's arms make a wide V between them.

    Creatures and spirits 16

    • a baby griffin learning to fly Wings too big for the body, landing at a run. Your OC's arms are out to catch it.
    • a clockwork bird that needs winding A key in its back, a stiff hop, a head that turns in steps. Your OC keeps a spare key on a cord.
    • a cloud that rains only on them A circle of wet ground that moves with them. Everyone and everything outside it is dry and sunlit.
    • a creature nobody has identified yet Design it from two animals that do not share a habitat. Your OC holds it out at arm's length.
    • a familiar that thinks it is in charge Seat it higher than your OC's head, on a shelf, a hat or a shoulder. Chin up, eyes half shut.
    • a friendly monster three times their height Fit both in the frame and your OC becomes small. The monster crouches, stoops or peers round a corner.
    • a house spirit that refuses to stay in the house Give it something of the house to wear or carry: a tile, a door knob, a bit of curtain.
    • a lantern spirit that lights the way badly A small floating light that drifts off to look at things. The shadows it casts fall in the wrong place.
    • a many-eyed creature that only wants to help All the eyes look at your OC with concern. It carries something useful, held very carefully.
    • a moss-backed forest spirit the size of a cat Let things grow on it: a fern, a toadstool, a seedling. It sits the way a stone sits.
    • a phoenix chick that singes everything it touches A small bright bird and a trail of scorch marks: on the sleeve, the glove, the perch.
    • a polite ghost who holds doors open for them A door standing open with nobody at the handle. Draw the ghost in line only, with no shadow.
    • a shy shadow creature that hides from lamps It lives in your OC's cast shadow, so plan the light first. Two eyes in the darkest shape on the page.
    • a small dragon asleep across their shoulders Draped like a scarf, tail down one arm. Its weight pulls the collar back and rounds the shoulders.
    • a tiny clay golem that copies everything they do Repeat your OC's pose at ankle height in a few blunt shapes. A good test of how simple the pose can go.
    • a will-o'-the-wisp leading them slightly wrong A pale flame a few steps off the path. It lights one side of the face and none of the ground.

    Alone, more or less 13

    • a crowd that has not noticed them Backs, hats and shoulders in flat tone. Your OC is the only figure drawn with a face.
    • a figure they built from whatever was lying around Bucket, broom, coat, a drawn-on face. It should look like them, badly, in three or four objects.
    • a framed portrait of someone they miss Keep the portrait's face small or turned from us. Your OC's grip on the frame says enough.
    • a scarecrow dressed better than they are A stiff T-shape in a good hat. Your OC eyes the coat and wonders if it would be missed.
    • a statue of themselves that gets the nose wrong Draw the heroic version the sculptor imagined beside the real one. Your OC copies the pose to compare.
    • an empty chair they keep looking at Give the chair as much care as a figure: its wear, a coat left on it. Aim your OC's eyeline at it.
    • an imaginary friend, drawn in a different style Switch tools for this figure: crayon line, flat colour, no shading. The clash of styles is the point.
    • nobody else in the frame Use the empty space. Put your OC off centre and let the room or the landscape be the company.
    • their older self, who will not say how it ends Same bones, more weight low in the face, a different scar or none. What did they stop wearing?
    • their own reflection, doing something different Mirror the body and change one thing: the expression, a hand, which way it looks.
    • their own shadow, slightly out of step Draw the pose, then draw the shadow a moment behind it. A small difference is eerier than a big one.
    • their younger self Shrink the proportions: bigger head, shorter limbs. Keep one feature and one habit so the link is clear.
    • the version of themselves from your last prompt Redraw the last outfit and mood beside the new one. Two versions of one design show what stays fixed.
    How this list was compiled

    Original list written for Draw This Next, September 2026. Every companion is invented. None is a named character from a book, film, show or game. If you borrow a friend's OC, ask them first. Three animal notes were checked on 2026-09-19: the goat's horizontal, slit-shaped pupils against https://en.wikipedia.org/wiki/Goat, the barn owl's heart-shaped face against https://en.wikipedia.org/wiki/Barn_owl, and the herding dog that gets in front of the animals and stares them down against https://en.wikipedia.org/wiki/Herding_dog. The rest of each hint is our own drawing suggestion. Licence: own work

    How it works

    This OC drawing ideas generator is for a character you already have. Five parts fill in: a timeline or AU (alternate universe), an emotion, a scene, an outfit and a companion. Lock what suits your OC and reroll the rest.

    Read the full guide

    Read the sentence as a brief

    The universe comes first because it decides which version of your OC turns up. A coffee shop AU does not move the scene into a café. It sends the barista version of them across the rope bridge. The scene says what the body does and the emotion says how. Lock the universe and the outfit and it works as an OC scenario generator: only the feeling, the scene and the company change.

    What the outfit swaps test

    New clothes are the quickest test of a design. Put your OC in a borrowed coat two sizes too big and see whether the silhouette still says who it is. For OC art ideas that suit a reference sheet, lock a quiet scene and reroll only the outfit.

    • For a month-long OC drawing challenge, lock nothing and press Print 30: thirty different OC drawing prompts in one list.
    • Things to do with your OCs: lock Timeline or AU and press Print 30 for a month inside one AU.
    • For an emotion drawing challenge, lock every part except Emotion and press Print 30: only the feeling changes.

    Questions and answers

    Can I use it as an AU generator?

    Yes. Lock the other parts and only Timeline or AU changes. An AU puts the same character in another setting: a bakery, a space opera or the 1920s. Of 82 entries, 64 are AUs and 18 are canon, their own story at another point.

    Can this make a new OC for me?

    No. An OC drawing prompt generator is for characters that already exist, so every sentence says your OC and leaves the design alone. To build a new look from nothing, use the character design generator, then bring it back here.

    Does this OC art prompt generator write new prompts each time?

    No. Each press picks one entry from each of five fixed lists and fits them into a sentence. The lists hold 82 timelines and AUs, 66 emotions, 102 scenes, 77 outfits and 65 companions: more than two billion possible sentences.

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