Galra Keith Head Cannons

Since galra and human genes kinda don’t mix, Keith’s height suffered. He’s super short for a galra and super short for his ridiculously tall human side of his family.

At 12 he reached his full height and hasn’t grown since (it really sucked)

Since humans don’t have much hair on any part of their body expect for their head and galrans rely on their thick fur, Keith somehow ended up completely hairless

His eyebrows are basically non existent so he draws them on to get the perfect eyebrows

Nobody except Shiro knows this

Even though everywhere else Keith’s hairless, his actual hair on his head is super super thick like damn. It gets very hot and it grows very fast (it’s basically torture)

On the plus side it’s really soft (kinda like cat fur???)

If you look at the right angle in the perfect light, his hair has a purple sheen to it

This also applies to his eyes (which have flecks of gold in them)

He has super good night vision

His eyes do that cat glow-in-the-dark thing and it scares the hell out of everybody

Keith can hear really good. you can be two rooms away and if he hears you mention him he’ll just running

Okay it’s not weird for people to be able to wiggle their ears a bit but Keith can do it really good??? Definitely not a human trait

He has big ears???and they’re pointed slightly

Very very sharp teeth. He’ll chew on his lip slightly and start bleeding a lot

His nails are super strong, grow fast and grow to a point. It kinda hurts to cut them, especially if he cuts them too short, but he deals with it

Galra are based off of felines almost and so their muscle mass in mostly in their legs while humans are a climbing species and have more muscle mass in their arms than galra do. So Keith has an advantage over both galra and humans because of this

Jumps very high and is able to climb

Because galra are almost feline like he is able to stretch and bend like crazy

More muscle mass in legs = thick thighs and defined af calves

This boi has big feet to balance out his weight

Galra have both reproductive organs so Keith has both
All galra are inherently pack animals more so than humans and are protective in nature

Read as: Keith is very aggressive to those who oppose his “pack” (the voltron team)

But because of humans nature of being critical and doing what is best for the team, Keith is torn between his galra instincts and human critical thinking

He ends up trying to do what’s right for the team but only if it protects those who he cares about most

If not well, there goes his impulse

Makes inhuman noises at times

Team Voltron: is sitting around, enjoying each other’s company
Keith, out of fucking nowhere for no apparent reason: azdefknlrtgjw;
The rest of the team: what. the. FUCK.

Galra have developed their space travel tech centuries before humans so they evolved with natural instincts for that (it explains reasons why Keith has so much instinct for flying)

Keith always looked to the stars because when his mom left, his dad always said whenever he wanted to find her, he just had to look up, right past Jupiter

(When his dad left to find his mom, his hobby for star gazing became an obsession)

Now that he’s up with the stars, he doesn’t know where to look anymore

Damn it

got to get my god damn fishing pole and shit

and some fuckin bait

always gotta put so much damn effort into this

jumps off a fuckin cliff every other week

running out of bait… shithead…

anonymous asked:

Hai Zero! This is a bit embarrassing but can you possibly explain how can I do -good- art since mine is bad? Notoriously bad.

i’m gonna be sucky and say what everyone else says- a lot of practice and extreme crying over everything you’re doing– but i know that’s not really helpful in the meantime so a few things that i found are somewhat helping me slowly get better are:

  • drawing with pens or any mean that can’t be erased - purely because it gets you to think three times as much about every move and detail you’re gonna pull. the first sketches you do with this technique are gonna look awful and you’re gonna hate yourself but if you keep going you’re gonna realize your eye picking up on small details it wouldn’t have noticed otherwise, and your lines adapting to what you need your drawing to be about. these sketches are usually referred to as urban sketches and are what those artists that put together pieces like this or this rely on. obviously the level you and i are starting at is nowhere as good as this but that’s what your skills are gonna shape up into if you’re consistent and passionate and i think it’s really awesome. the key to this technique is to jut down quickly the most expressive traits about what you’re drawing and focusing on any possible matter that surrounds you when you’re busy and don’t have much time on your hands, so that when you’re free and can actually sit down and practice like a champ you already have some light luggage by your side and aren’t completely new to this. don’t be afraid of fucking up, every mistake takes you a step closer to being the grand artist you want to be

  • don’t be afraid to look up references. i know everyone expects artists to sit there and draw whatever from memory but that’s really not how it has to go and you’d be surprised how many artists, famous or not, don’t actually respect this myth. the best way to learn how to do something new is by looking it up and focusing into it in various degrees of seriousness, following your style and not beating yourself up for not drawing like someone you consider incredible does. if i were to ask you to draw me a motor there are no chances you’d ever be able to unless they were your very passion, and that’d be entirely fine. people demanding you know everything are those who have no idea how drawing, painting or any other form of art work, and definitely shouldn’t hold power over how you live your passions or not. drawing by memory is awesome, but sketching with references is what’s really gonna get you further places and that’s nothing great artists have never done before. you’re totally valid if you dig deeper, so don’t hesitate to do so

  • don’t break yourself down if you don’t know what your style is or if it doesn’t look like what you want it to be. everyone you look up to has spent months and years working out their art style and it’s totally fine if you’re not where you wanna be just yet or if you’re not sure where you’re even standing at the moment. keep making art, experiment, try out new media and don’t be afraid if what you create doesn’t live up to your expectations- i promise for every doubt you have about it there are ten people out there who wish they were able to do even half as great as you did. always

  • copy other people’s styles every once in a while. sit down and trace art that’s already been made, translate someone’s work onto your sheet of paper and focus on how they perceived their lines, their shading, their proportions. studying what other people have done is important but trying it out with your own hands takes everything to a whole new level and gets you into a much different place. diving into something much more different from your style not only opens up your mind about how even the most minimalistic sketches actually come from a lot of thinking and practicing but will also help you keep an emotional and subconscious record of new ways to render what you want to. transforming a tridimensional world into a two-dimensional one is hard, you’re not a fake artist for discovering what getaway other people have adopted for this

  • jump into new subjects. getting wrapped up all around something is awesome and definitely gets you to really know it and how to represent it at its finest but it also keeps you from learning a lot of new things. challenge yourself and don’t be afraid to fail, not only you’re still one step ahead of someone who hasn’t tried at all but you’ve also gathered information that’s gonna make focusing on that same thing in the future a whole lot easier. if you’re really into drawing people from a ¾ perspective, try changing your angle and focus; if you’re into drawing someone specific all the time consider aging them or swapping them with someone new altogether. comfort zones are comforting and i myself adore mine, but they’re also a tricky fuck that’s gonna keep you away from doing better

  • draw without looking at your sheet of paper. pick an object and try to render it without ever taking your eyes off of it, lowering your gaze only when finished. this is another technique that helps you focus on every move you pull a lot more, and much harder than it seems. your drawings are gonna look like shit at first and you might not even recognize what you’re attempting to convey for the first couple times, but you’re gonna realize just how important eye-hand correlation is and it’s gonna build you up a lot more and help your perspective on how details ought to be perceived

more than anything, just give it your all! i’m sure your art is awesome and you should never be ashamed of it, no matter how much it differs from the art goals you hold above your head. your efforts are more than good enough and showing, and you should never forget that. you got this friend, you really really do