A methodical way to draw ANYTHING. In this case, a mantis vs a VW Bug. Constructive drawing approach | Steve Worthington | Skillshare

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A methodical way to draw ANYTHING. In this case, a mantis vs a VW Bug. Constructive drawing approach

teacher avatar Steve Worthington, Storyboard artist/illustrator/sculptor

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

13 Lessons (44m)
    • 1. Introduction

      2:13
    • 2. Class Project

      0:38
    • 3. Materials

      1:02
    • 4. Requirements

      0:54
    • 5. Observed Mantis Shapes

      5:05
    • 6. Mantis: Three Main Shapes

      3:05
    • 7. Mantis Practice Sketch

      8:00
    • 8. Wider Angle Mantis Sketch

      4:35
    • 9. Finding Car Shapes

      5:26
    • 10. Car Practice Sketch

      3:53
    • 11. Exploring Compositions

      4:13
    • 12. Refining/Finishing Chosen Comp

      4:10
    • 13. Conclusion

      1:04
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About This Class

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Once learned, the constructive drawing approach lets you quickly compose a scene many ways. This is because first you break down your scene's components (praying mantis and VW bug in this case) to fit into bounding boxes, and then reduce them to very simple forms within those bounding boxes. These working drawings are rough, but once you pick your favorite composition, you use your reference to refine the sketch and then make a final drawing over that. 

This is not for absolute beginners! The constructive (or volumetric) drawing approach is a difficult path to take at first, but the rewards are more than worth it once you get the hang of it. You must be comfortable drawing basic volumes (boxes especially) in perspective at different angles to take this class.

I have a perspective class, and a lesson in my drawing dogs class that deals with these problems if you aren't ready for this class but would like to look into the constructive drawing approach. Once mastered, you can use it to draw anything, not just insects and cars.

Meet Your Teacher

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Steve Worthington

Storyboard artist/illustrator/sculptor

Teacher

Hi there, I'm a professional storyboard artist and illustrator. I spent 8 years in Los Angeles drawing shooting boards at hundreds of production companies (or hotel lobbies, people's kitchen tables, sound stages, on location in catering tents, you name it!).

Before that I worked in-house at a couple of ad agencies. One in London (UK), and one in Hong Kong. 

Now I work from home (mostly) in Santa Fe, New Mexico (USA). I still go in and sit with directors to thumbnail scenes for tv shows and movies which I then finish up at home.

Drawing shooting boards for commercial, film and tv directors has been my bread and butter for most of the time.

I also enjoy sculpting animals (I'm Critterville on Etsy) and animating. Traditional or digital.<... See full profile

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Transcripts

1. Introduction: So you enjoy drawing your pretty good at it. Certainly you can copy anything that you see. But when you try and create scenes and make them up from scratch, doesn't seem all that believable. In this class, you're going to learn an approach so that you can explore different ways to bring things together, try out different compositions in a hurry, and then work on the one that you like the best. Hi, I'm Steve Worthington, professional storyboard artist and illustrator for over 20 years in London, Hong Kong, and Los Angeles. And what I do brings together drawing with inventing scenes and telling stories. So inventing scenes is certainly challenging. For a start. You have to find some kind of reference usually and very rarely do you find anything that's perfect. So then you have to bring the elements together, work them out so that they fit nicely and work in perspective. Tell the story that you're trying to tell. And then you might have to do that 56 times efficiently, quickly before you decide on which one is going to be the final that you then work up. In this class, you're going to learn an approach that will allow you to invent scenes, explore lots of options in a very rough way. So you can then go back to your reference and finalize the one you like the best. I'll walk you through how to break down the elements in your scene. First into an enclosing box and then very simple shapes. And that will allow you to arrange them in perspective, look at them from different points of view, try new arrangements, and then refine the one you like the best using the reference from this class, you'll develop a methodical approach which will give me confidence to try more things out in less time. And don't forget your roughs can be really rough. You don't need to get fancy until you've come up with the one you like the best. This approach does take a while to learn. But since anything can be broken down, you can draw literally anything with this approach. So it's well-worth it. Try a bunch of other things besides a mantis in a car, you can apply it to literally anything. So see you in class. 2. Class Project: For this project, we'll draw a praying mantis chewing up a car. So I will post in the resources the sketches I made from the reference that I found. I would encourage you to find some reference yourself. Make your own sketches because you'll notice different things than I did and post them to the project because it would be interesting for other people to see what things you're noticing and vice versa. 3. Materials: So what did we draw always, well, anything you're comfortable with. I mean, it could be a pencil, Apple pencil, sharpie pen, ballpoint pen, colored pencil, various tablet pens, calligraphy, pen, brush, pen, mockup, and anything that you're comfortable drawing with is fine. And when it comes to what do we draw on? Well, paper's always a good, a good start. Tracing paper is also perfectly fine. The point is, if you're comfortable making marks with it, then that's what you should use. Actually, if you're going completely traditional, tracing paper is definite useful thing for kind of working out your shapes over the tops of other things. So get yourself some tracing paper if you don't already have any. And it's gets scribbling. 4. Requirements: The constructive approach to drawing that I use here requires you to be comfortable drawing boxes in three-dimensions in perspective from all different angles in relationship to each other. Since that's how we're going to be composing our scenes. If you're not comfortable doing that yet. I mean, by all means, check this out but bear in mind that you'll probably need to go back to say my perspective course. Check that out and just practice getting comfortable drawing all those simple volumes before you undertake something as challenging as this, I would say that the constructive approach to drawing is difficult to get the hang off, but it's so much easier to work out things later once you've put the work in. So I highly recommend it. That being said, if you're ready and willing, then let's get stuck in. 5. Observed Mantis Shapes : So I hunted around and found some reference of mantis and just started making like little visual notes of things that would enable me to sketch it out fairly easily once I've kind of born in mind certain things. So I mean, the biggest and most obvious thing is the overall proportions of the head and this part here and the backend, and how the legs kinda fit onto it. And how many parts there are to the legs? Which parts are longer than others? I made a note that this was foreshortened because this pi is longer. And just some little kind of cross-section lines to indicate where it's curvy and where it's a little more square. Again, a few more leg parts here. Couple of different looks at the head, trying to figure out like where it attaches and how flexible are mobile it might be. And continuing here, just working out how an overall bounding box would accommodate mantis. Noticing that they kind of angle themselves up like the backend might be sitting on the ground, it might be raised off the ground. And just kind of how these legs arrange themselves so that I can just quickly figure out where to put the feet had to elevate the body. Because these are points that will be important when you're quickly composing your scene. Particularly is like the feet and this thing. Because if it's pushing itself up, you need to know where the feet would be. And I got a little bit more into some detail of the head and I was just taking a look at all these nasty mouthparts. Not so nasty if you're the mantis, of course, but if you're anything, semantics comes across in these feeling a bit package it at the time. I'm sure you'll find it all fairly terrifying. So yeah, like how long this part is relative to this and this. So this is medium length because it cannot comes out off this bulge here and toxin here. And then this second pot bit longer goes all the way up to the head. And this part here, which is the kind of grab EBIT line, is the shortest. So that is just me exploring some shapes that looks a little bit like a motorcycle saddle with a with a gas tank in front of it. This is the kind of observation that just kinda helps really. Going into a little bit more detail. I found a website that had some really good reference. X2 keys, dot pencil, net slash, articles slash 12, 54. To check that out, if you're interested in really close up views of mantises. I watched some videos on YouTube of them eating things as well. And I noticed this part of its snout area kind of flips back to reveal the cutting tools for slicing up whatever it happens to be making a mess of. And yeah, so this is another kind of everything's kind of nicely flattened out on this one so you can see how long the legs are relative to each other and all the various parts. Again, you're looking at how this pops down, how flexible this part of the mantises compared to this. And what I concluded was there very flexible. This can bend up in some pictures and I found is like just arches up around the back. This can bend and go sideways. The head is just ridiculously flexible on the end is like almost on a ball and socket type joint. So yeah, they're very mobile. They get their feet fixed on the ground. They can move themselves into all kinds of positions. So that's good to know. And that will help me when I'm roughing out possibilities for my scene. So we've learned to find some reference, get a good overall view of a bounding box. Get into some details. But not too crazy on the details at this point because we're just going to be sketching everything out. We just want to make sure that it's bodies gesture works and feels convincing. 6. Mantis: Three Main Shapes: So if we're going to very quickly break down the shape of a mantis just so we can start composing. And then the head, very much triangular, right? Just nip the end of you could put globes on the corners here. And if you were gonna do that, have the sticking out slightly on the front side but kind of flush with the backside. Basically a triangle. And the thorax. You would just basically consider it to be a rectangle box. And the abdomen. Also, like a books, slightly thicker and longer than this. It's like 2.5 times running out of space here. So I'll just make it along as I can fit it in. And it's squarer this and, and rounder this. And, but for now we'll just keep it at a box. So for the main body parts, that's what you're looking at. We can just draw some will send the lines down there and then you just work over that with any other, as you start noticing other shapes, like centerline kind of goes in a bit more here and then it kinda bulges out here. And it's kind of wider at the front that it is kind of narrower in here. I'm like I said, square at the front and kinda rounder and the back. And if it's like a full of eggs female it might have a big bulge down here. But that's your basic shapes. If we imagine our three main parts, head, thorax and abdomen, being connected by a piece of flexible wire. You get an idea of just how independently you can move the head of the thorax and the fact that the thorax and the abdomen can bend side to side and they can kind of go this way and that way. So that's all pretty flexible stuff. This is rigid. Obviously the head is very rigid. This thing I've seen pictures of them with them bend all the way back like this. I don't know if that's a particular species or festers common. I'm not sure it might be unique to certain species or two. But certainly when you're dealing with these three shapes relative to each other, they are highly mobile. 7. Mantis Practice Sketch: Let's see how comfortably we can draw a mantis. Let's pick a little bit of ground plane to put its feet at. And we know that the body likes to be angled upwards and it's really get it up there. Let's put it all the way up here. And we have the back portion of the body. And then we have the thorax, I guess. And then at the top you've got the head, which is triangular in shape. I think I'm going to have the head, just move it down a little bit. And the this part is, this part is about 2.5 times the length of this pot. So make sure we have plenty of room there. And then we have four legs that support this thing. And they've got kind of a thick stumpy bit attaching to the I guess they attach to the technically the thorax. But when I look at it, it looks more like this back part. And so I don't know exactly how differentiated these parts are or if they all kind of smush into one a little bit. But anyway, so we have the back leg which would go to there and another one here. And the front of these set of legs. We could have going. Now they're a bit shorter, so the pointy bit more stretched out. So we'll just stretch those out a bit more, less bend in them. And the head is a triangle basically. So if we draw ourselves a triangle and we'll keep it in perspective with everything else. Yes. So we'll draw it like this. So there's sort of blunt triangle and it's got some thickness to it. So there's no forget that. And also kinda has a smushed forwards like if it was clay and the Stuckey finger in their pulled the eyes forward a bit. That's kind of how the eyes sit. So I can put the eyes there. So from the top of the head kind of looks like this with the eyes. And this is the front. So this kind of curves like that. And attaching below the eyes we have the, the mandibles, which were the snippy bits. And on top of that we've got this little snotty bit that can pop back up. So there's the head. And now for the business end of everything, the gravity parts. So we've got this bulge that sticks out here and we just have our medium length piece, which lets have it. We could have it like just raising his arms a little bit. Like it's reaching for something over here. Since that's where it seems to be looking. So same thing when drawing people. Sometimes it's just easier to put like the hands in the end of the multiple jointed body part and then work out the rest where it kind of works its way back to the body. So if we had its end bits here, which are the shortest of the three segments and the most medium of the three segments could be kind of here. And thus slightly longer. One would be, say, they're gonna do the same on this side. So medium, bit longer, longest, and shortest. Another thing is that this has a curve to it. So it can fit this big kind of chunky forum if you'd like, into that space there when it's kind of got them all folded up. So we can put that in there. And then we have this kind of big chunky forum section. And then this part which kind of curves under here. We'll have it kind of reaching forward a little bit. Things got spike on the end. And the spikes go face out forward this way. And the spikes on the sort of four I'm area and there's a big one kind of corresponds to this when it's folded back, and then a few smaller ones. So we can do the same on this side. A big chunky forum bit. And then this spike here and a few other spikes coming forward. And then kinda from up here we've got this still kinda second little antennae sort of Lake bit. Kind of pops forward like this. Thank you. Spotlight, five bits on it. Little tiny bit on the end. Totally sure what it does with those, probably just feels around with them. So yeah, we get now pretty reasonable sense of a creature here. And let me go to this abdomen so we can draw some segments underneath. Now for the thorax part, slopes just kinda like over the top of the front end of this back when case curves in a little bit here. And we don't really sing on top of it too much because it's raised up. So it flares out a little wider here. But again, we're just seeing kind of a side view. Obviously you didn't really notice that particularly. And for the head, they've got this antenna, so put those in there. So we just checked that were fairly comfortable with our understanding of the space that mantis takes up in the general, blocking innervates shapes. So we can go ahead now and start having some fun making some compositions. 8. Wider Angle Mantis Sketch: So let's have a quick go to a mantis like we're kind of on the ground in insect world. Well this thing's gigantic and so overall box would be rapidly getting smaller as it went further back and getting very big as it came towards us. So this could be a bounding box for the most part of it. And store X would be their abdomen would be there. Kind of Dan like this. It's front feet would be kinda hear quite big because they're not closer to us. Because we're looking at this with a wide angle lens. Our point of view is very close to this thing, which obviously if you were the size of a bug, would be your worst nightmare. So we can draw the big scary pots. Quite huge because they're going to be like right towards us. Draw this one up here like this. So even though this is longer than this, if you're just looking at it flat from above because this is much closer to us. Obviously. It will look a lot larger. So this part here is kind of chunky. It's got one big spike and then a series of smaller spikes. So withdraw. Same thing here. Big spike, smaller spikes, spikes on that too. Ai is now the head of these things. They have the mandibles here which covered up with that snotty bit. But they have these lists. Don't forget to put in the creepy little feeler EBIT switch. A very strange looking. When you see them eating and they'll blight thinkers and stuff feeding with food into their mouth. So this is the rest of that midsection. Now for the legs, we've got the thick chunky top section, two pairs of those. And we've got the fate which are believer in like five pieces like 1234 and then a slightly longer fifth part. And the back feet you would be very small black layer. And then we've got to two segments In-between this thick piece here and, and the foot. So we'll just draw Something like that. Looks like he's kinda leaning slightly to the side. And likewise, we'll do two sections here. The other thing that back leg sections a bit longer than the front ones. So there might be more kind of up and down bend to them unless they were stretched like really far. So to put that put that they're keeping those nice look in. I put some and 10 are in there. Yeah. I think if you saw that coming your way, you'd be a little bit concerned. 9. Finding Car Shapes: So if we're going to do a bunch of sketches for possible compositions of our mantis with AKA, we need to be able to draw at least a reasonable facsimile of the car. It doesn't have to be perfect. It just has to be proportionally about right? And then when you do your final drawing, you can make closer reference to images that you pull up. So I found a whole load of pictures from different positions. I just searched for the name of the car and then took a screenshot of that. So the first thing I wanted to do was get a sense of an enclosing box for the entire car. And just get an idea of its overall proportions. And it seemed to be two cubes pushed together with a bit of a cube in between. So to add a big cubes would be your enclosing shape. And then I figure where the wheels go, how close they are to the front and back of the box, and how high up they go a little higher than a third of the way up. And just put in some center lines That's really important just to give you an overall idea of the curviness of the car. And it also gives you a good idea of where important elements lie either side of the center line. So lights, whales in particular. And some views are from the back of the car and some are from the front. So they were seeing just the bare essentials minus the reference. And you can sort of already get a feeling for the general shape of the car. And these are the important things that you want to kind of drill into your mind a little bit. Not so much details, but just where the important things for a thought, I'd try a little experiment here. Knowing that the axle would be at 90 degrees to the long axis of the ellipse for the wheels. And I was thinking it would be fun to plot where the other wheels go and see how right or wrong I am when I pop the reference back on. So the reference is turned off here on, I'm just figuring out where the axons go relative to the long axis of the ellipses that I've already drawn. And then just putting in the ones on the other side by drawing a line at 90 degrees to the axle so that it touches the ground at the same place on the other side of the vehicle. And then just drawing in the ellipse and turning on the reference again. So not too bad. Not perfect, but close enough. So I thought I'd try the same thing with the body shape of the car. Just turned off the reference and then drew in orange here where I figured the body would be. And then time to turn the reference back on again and see how wrong I am. So a little bit wrong here and there. I then turned off my attempt and drew the actual outline of the car, and then turn off the reference again and compared the actual outline to the one I drew so I can see where my most grievous errors, lei sono, entirely terrible. Also I've drawn in the top edge of a convertible, I suppose, and that's about two-thirds of the way up and pretty level all the way around. And again here, I thought I would see if I could put in where the other features, the important features of the cholera. And then with reference turned off and then turn it back on again and see how Rome I am. It's my preferred way of learning my way around shapes is to try and draw them without looking at them, and then look at them and see where you're going wrong. So here I've got the reference back on. I've turned off my attempt and I'm drawing the actual shapes with a dark blue. And here's the actual shapes versus the shapes I drew. And pretty immediately the areas that I kind of messed up, the boot or the trunk. I went way down too far with that. Similarly, I went a little too far down with the hood or bonnet, depending on where you're watching this. And I didn't put in a couple of the bumpers. I didn't even attempt to Bumpus. So when I do it again, next time it'll be a little bit better because now I know. And then I'll be ready to start sketching in this car from all kinds of angles. Presumably all kinds of angles except from below, since I really don't have much of a clue what goes on underneath the car. Chassis of some kind. Axles, couple of lumpy bits. But besides that Stillwood mystery to me, so we've seen the importance of trying to create a basic enclosing box, breaking that down further into how to create that box, and then how to break that down even further to the relative positions of the important parts of the car. And they're just overall proportions. 10. Car Practice Sketch: So I'll just have a quick light sketch in of my books. I'm drawing a little harder than I would if I was just doing this for myself, just so you can see my pencil lines. But for the purposes of this, we're just drawing out overall box shape, putting in our front wheels and we know that they're not up to the halfway mark and they're a bit more than a third. If the way up anyway, front-wheel, back wheel, these lines I'm doing like a flat. If this was your cylinder, representing the wheels go, this ellipse always goes at 90 degrees to this axis through here. So the long, the long axis of the ellipse is at 90 degrees to the center of the cylinder that the ellipse is a part of. If the whales are turned within the cylinder that you're concerned with is just the short cylinder of the wheel, obviously, not the long cylinder of the axle. So let's just put in some more car. We know that our window sills about two-thirds of the way up. We know that the front of the whole business of the windshield comes to about level with the center of the front. We'll say we can put the front when we can put the windshield here, door here. And something along these lines. And when we're drawing lines that are parallel to these edges of the box, That's always something to bear in mind. These boxes are good for giving you an overall area in which to draw your vehicle or whatever you're drawing. But also they give you these edges that you can put parallel things in alignment with. Say for example, the the headlights are parallel because they're in the same position on each side of the canvas. So we can draw ourselves some headlights. We can little front bumper in there. And we're getting somewhere close to a reasonable enough car. Put I center line in. It's always good to put that in. So it good enough. So we're just needing to draw cause I want a window. In particular. I want to know where that is in relation to the other major parts because I'm going to draw my mantis probably stickiness, legs in through there in order to get a good grip on the car. So just being able to sketch out this with a window where a note that thing can put its little feet through is all I need. So we figured out how to draw good enough car that we can sketch it in the context of options for compositions of our current mantis scene. 11. Exploring Compositions: Okay, now we've created some shapes we can play with. Let's have some fun composing. So first up, I thought I would try my mantis and colleges together, kind of him having a nibble. And I put a room around a room like shape anyway, it really just indicates sort of space so that I can move the camera into different positions and kind of try it from different angles. And sometimes stop with that actual overall space and then work the other elements into it. So here we have me putting that room in place, which is a kind of high view looking down. Because of that, our horizon line drifts up and off the top of the page. But anyway, so we have mantis grabbing the car. And the car is bigger than in view now because the camera is closer to it on a wider angle lens. And so the next one I thought I'd try. I wanted to try low down view looking up. So I've got a nice imposing mantis up there and, and the car is in its claws. And I thought I'd be kind of fun to have a person dangling out the back of the car, had a few go's at the person to get them feeling right. And then toyed with the idea of another person kind of crawling out from the floor. They're sneaking off hoping not to be gobbled up by the evil mantis. And so then the next composition I tried. And the reason you can try so many is because you're keeping things simple. You've worked out these boxes that you can throw around in space fairly, fairly nimbly for our trie and over the shoulder kind of looking down. So here's the backup mantis. I thought I'd try the car in a couple of different angles too. I found the one I liked better and took a look at that. And then changed it again and took a look at that. And so not a 100 percent convinced, I thought, well, let's try something else. I will draw my mantis once again with a car, but this time I want the car to be much bigger so that the backend of it is resting on the floor. That way I figure it's a little bit more believable that a mantis could like hold onto a car rather than necessarily hold it up in the air. So here it is. Holden, the car in place while it starts chewing on its front. And as you can see, I've sort of change sizes and positions of things a little bit because I'm using my iPad with Procreate, which allows you obviously to mess around doing these kinds of things. But if you're using pencils and tracing paper and you kick the mantis on one sheet and the car on the other. You can just as easily do the same thing. And I use tracing paper and colored pencils for donkey's years, so it's perfectly viable option. And my next attempt was pretty much the same idea, but from a different low vantage point. So a low angle view there. And because we're looking up the horizon line as disappeared, well, we never saw the horizon line anyway, but if it was there, it would be down off the bottom of the page. So if you are going to draw any kind of background stuff and you'd better all that in mind. But anyway, this is the one I'm liking the look of best of the car. Fairly large and clear in frame and imposing view of the mantis. There is a fairly bad mistake that I've made with regard to the Mantis at this point, which I will get into in the next lesson. So we have looked at some alternative compositions made much easier by the simple fact of placing our objects in their own bounding boxes and having broken them down into shapes that are quick and easy to draw. Certainly compared to try and draw them in full detail from the get-go. 12. Refining/Finishing Chosen Comp: So now we have our favorite composition to work up a little further. Let's go ahead and do just that. I'm starting with a different color. This is where I get the reference back in front of me. Take a good look at it. So I'm kind of back and forth thing between the reference and what I'm drawing tronic get those shapes a little more accurate. And you can see for instance, there's the front right leg of the middle pair of legs. If you count the clause at the top as the front pair of legs. And it's pointing sort of in the same direction as the bottom edge of a part of its claw. Now that you kind of consider to be a tangent, which is kind of a bit of a no-no, because the eye can be tricked into thinking is part of that particular body part. So as you can see, I just lower that leg down a little bit so that it's not creating that confusion. So I'm kind of liking that. Although there is one error that I get to in a little while. But if you can spot the grievous, now then bonus points for you. And I put a, an overall color in there just to kind of not that back a little bit and see how it worked as a silhouette. For now though, I'll just move on to some inking. And for that I just kept everything with a fairly small line size. I just wanted to delineate everything before. I worried about darkening the bottom sides of things to give them white or putting any shadows in here and there. Anyhow here is where we encounter that error that I made. And it is that I've attached the back four legs too far up the thorax. So I just kind of cut that part and just pulled it down. And the reason I did that, I think is because when I was a kid, one of the teachers had us all drawing a B, which she drew on the board. And she clearly delineated a head, a thorax and abdomen. And pointed out that the legs and wings always on an insect are attached to the thorax. And the abdomen has nothing much attached to it. And the head has obviously the eyes and the antennae and stuff. So it's kinda had that in my mind since I did learn it when I was about seven or something. Sense to stick when you learn stuff that young. Anyhow. So having revisited some reference and looked up some mantis anatomy, turns out they have like a three part thorax, which kinda runs into that whole abdomen area. So that was why I was getting a little bit muddled up there. So yeah, just move that down and redraw that section and just carry on with the inking over the top of that. And you know, some light lines, some heavier lines. Now I'm working on the car a little bit. I'm putting some darker bits in here in there that indicate sort of black edging around windshields and stuff like that. And also some bits of shadow. And also a little bit of heavier shading, sort of heavier line on the bottom edge of a thing just kind of indicates that it's kind of pointing more towards the floor than, than the sky. And then again, a person flat tones into see what a silhouette would look like. Because I kinda like to keep it simple and old school comic bookie tonally. And then I just messed around with some shading and played with a bit of color just, just for fun. But really this is a drawing exercise, so we don't have to pay any attention to that. So having picked our favorite composition in this lesson, we refined it by looking at the reference and did our line work and put in any tones if we wanted to. And that's pretty much the end of our mantis with a car. 13. Conclusion: Well that's it. We're at the end of the class. I love to draw and invent scenes and I certainly hope that you feel you've learned enough to move on with this approach yourself. Like I said before, it's not something that you can just pick up immediately. It takes a while to get the hang of. So don't worry if you sort of trip over and have a bit of a hard time getting the hang of it. That's perfectly fine. Just stick with it and it's certainly worth it in the long run. So to post your progress in the project section, It's always good to see how we're all getting along. And if you have any questions, post something in the discussions, and I'll check out that and get back to you. I am here in their online a few. Post any of your pictures on Instagram. Feel free to tag me. I'm Steve Worthington, art. But thanks so much for taking my class means a lot to me and feel free to leave a review. So yes, time to grab your favorite drawing tool and get scribbling.