How I Work
Here I explain the process that I use when I work. Also check out the secrets behind my storytelling and illustrations. Also see: bara genre.
Extreme Circumstances
When I create my illustrations I usually begin by creating an extreme circumstance. In this example, I chose to start with the depiction of a naked cowboy who has been crucified. 
I usually do not provide a lot of detail about how the character in the illustration got there so that you, the viewer, can fill in the blanks on your own.
Angle
I also deliberately choose an unusual angle to depict the scene. In this example of the crucified cowboy, I chose an extremely sharp angle that looks up at the character as if you were standing below him on the ground. Such unusual angles are intended to exaggerate the intensity of the scene.
Cock and Balls
I usually choose to depict the character’s genitals in full view. This gives you, the viewer, a point of focus as you look at the illustration. My specific intent is for the depicted character to represent some highly masculine male that you, the viewer, will focus on and begin to use your mind to imagine how you might respond to him emotionally. Are you attracted? Are you repulsed? Are you both repulsed and attracted? What do you want to do in response to how you perceive of the character?
Light and Shadows
To help make the experience for you, the viewer, as realistic as possible, I deliberate use complex lighting, shadows, and skin textures.
As in the example illustration of the cock and balls above, I chose to use lighting and shadows to deliberately draw your attention to the character’s manhood. Usually, my characters have little or no body hair so you will not be distracted from studying their genitals and muscular torsos.
Masculinity
I always choose to depict my characters with a strong respect for their appearance. They are consistently depicted as highly masculine males.
My characters usually show evidence that they have taken good care of their bodies in a purposeful way to emphasize their fitness and strength. My characters usually are muscular and youthful. No matter what fate I may assign to my characters, I consistently choose to depict them with an essential respect for their manhood and their worthiness to be admired.
I also make certain that my charters have large hands and feet that are in accurate proportion to the scale of their masculine bodies.
I work hard to create my characters as if they are real men, even though they are only fictional and cannot exist in the physical world.I want my characters to look sufficiently realistic so that you, the viewer, will not think about the fact that you are viewing an illustration that is fictional.
Emotions
Whenever I depict a character, there is much more than just giving him an impressive cock, broad shoulders and muscles.
My character must have a face that you find believable and compelling.
Too often I see illustrations for gay adult men that stop short of depicting character’s faces in ways that will convey believability and that can make you feel some sort of emotional response.
What is the point of depicting a fictional character with a face that you do not believe nor feel some sort of response in your gut or your heart?
I work to give my characters eyes that convey what he is feeling about the experience that he is undergoing in the scene. Before I am done, his face must clearly suggest a specific and easily-recognizing set of emotions that you, the viewer, will recognize.
Whether you like him or hate him doesn’t matter. Whether you feel attracted to him or repulsed by him doesn’t matter.
For me and my work, what matters is that you, the viewer, have a definite emotional response to him when you see him in my illustration.
When I depict two or more characters in one illustration, my goal is to give you, the viewer, a snapshot of something compelling that is happening to the characters.
I do not like to depict characters unless there is something going on in the scene that draws you, the viewer, into the scene.
Whether you like what you see being depicted or hate it doesn’t matter. Whether you feel attracted to what you see depicted or repulsed by it doesn’t matter.
For me and my work, what matters is that you, the viewer, have a definite emotional response to the situation that you see unfolding in my illustrations.
Those who find my work turns them off usually never come back to see anything more. Those who find my work worth a second or third look are most welcome back here to see what I have been working on since their last visit.
Orgasm
Whenever I depict a character who is having an orgasm, I do not shy away from showing you, the viewer, what it looks like.
I want his juices to flow in the scene. I want the expression on his face to be orgasmic.
I want to show him enjoying the deepest sense of release and satisfaction that his orgasm can bring him.
If there are other characters in the same scene, I want them to be somehow directly involved in that orgasm.
Even if the scene is not realistic in the sense that it could not necessarily exist in the physical world, I want the depiction of the character’s orgasm to appear to be as realistic as possible.
There would be no point in depicting an orgasm if it did not turn out to look convincing and credible.
The action in the scene always needs to support that kind of credible and genuine orgasm if the illustration is going to be effective for you, the viewer.
Thank you for your interest in my work. I ask that you please pass along word of my website to other gay adult men. –Madeira Desouza
