Blooming Tangles - Draw Patterns and Relax, Learn Shading and Highlighting | Zen Linea | Skillshare

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Blooming Tangles - Draw Patterns and Relax, Learn Shading and Highlighting

teacher avatar Zen Linea, Certified Zentangle® Teacher & Jeweler

Watch this class and thousands more

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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

7 Lessons (1h 9m)
    • 1. Intro

      0:44
    • 2. Line Work - Part 1

      11:15
    • 3. Line Work - Part 2

      8:07
    • 4. Line Work - Part 3

      10:23
    • 5. Shading - Part 1

      12:58
    • 6. Shading - Part 2

      12:07
    • 7. Shading and Highlighting

      13:25
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About This Class

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Join me in creating my favorite type of Zentangle drawing:

  • Use some wavy lines to grow the design from a single dot,
  • Get in flow by drawing simple, organic patterns.
  • Use basic supplies to practice shading and highlighting.

Whether you are a beginner or a skilled artist, you are the right fit for this class - it is designed for anyone who is able to write four basic letters used to draw any pattern: I, C, S and O. However, it is best suited for intermediate level artists, although beginners can finish the project with the guidance from video instructions and the accompanying handouts with illustrated step by step guidelines (you'll have to log in to Skillshare through your PC to be able to download attachments from the Projects & Resources section).

Remember that you can stop the video at any time to finish what you do at your own pace and you can also watch it at 0.5 x Play Speed if you prefer slower rate (the option is in the bottom left corner at each video).

Make sure to download the attachments, join the project and come back with project photos, questions or comments. I'd love to hear from you! To download the attachment and upload your drawing you have to log in from your PC and visit the Projects & Resources section.

These drawings were inspired by the Zentangle® Method - an easy-to-learn, relaxing, and fun way to create beautiful images by drawing structured patterns. It was created by Rick Roberts and Maria Thomas. "Zentangle" is a registered trademark of Zentangle, Inc. Learn more at zentangle.com.

Follow me on Instagram to see hundreds of drawings and process videos, visit my learning platform to see live classes, video classes and eBooks. 

Meet Your Teacher

Teacher Profile Image

Zen Linea

Certified Zentangle® Teacher & Jeweler

Teacher

Hi, everybody!

I'm Anica Gabrovec, a Certified Zentangle® Teacher and jewelry maker from Croatia. On social media I mostly use my alias Zen Linea, which became the formal name of my small creative business.

After working in finance for 20 years, in 2019 I decided to make a big shift and dedicate my time to creative pursuits, which is what really sparks my joy. I've been making jewelry on and off for 15 years and last four years I've been totally into drawing, powered and inspired by the amazing Zentangle® method. 

I can honestly say that creative work has changed my life and my mission is to spread that creative virus to as many people as I can. My biggest reward is when I manage to change other people's preconceived&nbs... See full profile

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Transcripts

1. Intro: Hello and welcome to the xanthan gum inspired the drawing class and Manasseh, governor of its certified same thing I'll teach her from Croatia. This class is suitable for anyone who is comfortable with elemental Zen tangle vocabulary and skills. We are going to use some basic supplies. A thin black liner, a graphite pencil, white charcoal pencil, and color pencil, blending stamps and the gray alcohol marker. If you want to try adding deeper Shades with it. 2. Line Work - Part 1: I hope that you all feel relaxed and ready to start drawing. And the way we will start the process, he's just by making a kind of a string, drawing a string, which is a space that we will treat as a kind of structure for our tangles that we are going to planes placed inside. And I'm of course using my preferred pencil, marking a dot which is off-center of on purpose. And then in this part, which is closer to the to the edge of the tile. So this one is wider. I'm choosing this one. I will just throw a border, kind of a border and a bit further away from the edge of the tile. But you don't have to worry about being precise because it's only here for orientation purposes. And I will feel free to go over it. So it's just here to make things easier. It's one thing less to concentrate on as we are drawing. And I'm going to start drawing this S-shaped lines that extend from the border to this dot that I have marked. I'm starting to draw a shape that's very similar to Zen tangles, tangle fan girl. So I'm drawing these wavy lines that all reach and connect at the middle, at, not exactly at the middle, but at this thought that I started with. And now I'm going to draw a slightly bigger lines or longer lines. Just because these, this dot is further away on this side. And I feel that this is enough. You might have either six or maybe five or seven lines. You don't have to worry about the number. It doesn't have to look exactly like my drawing does. Each of us is different and our drawings will be different even if we are following the same instructions, which is totally fine. Just trust the process and go with the flow. As always. Make sure that you concentrate on each of your strokes. So focus on one line at a time. Don't worry about what you are going to draw next. Just enjoy. Each moment of your creative process. And after drawing all these lines that connect the tops to the neighboring lines, you will get the kind of flower liked sheep. And now we're going to treat each of these petals of our flower as a string. Again. Meaning we will fill each of these petals with some shapes. And in these smaller ones, I will draw something like a flux, or here. It is a flux. I am using the lines that are all already here as a side of my flux shapes. So I'm basically just drawing this around its section of each flux. And I'm not worrying about each of these shapes looking a bit different. Being slightly bigger or smaller. Y there. It doesn't matter really. We are not here to draw a perfect image. We are here to relax and celebrate this moment of creativity. You can see that I'm adding these ornaments, just a simple line and the dots, which you can sue or maybe deciding to do whatever you prefer in these three bigger petals. And as I said, you might have three as well, or maybe two or a four. I will add some lines. The first one will be quite close to the side of the pencil, and then I will draw another one a bit why they're further away. So I can fill it with some orbs and then I will just feel the remaining part of the petal with a few more lines. It might be 23 or four. The number of the lines really doesn't matter. I'm going to do the same on these other two petals. And as before, just connecting the side of the petal width, this tip of the pencil. Drawing one line at a time. Thinking about each of them focusing on them. Drawing them with intention. So there are no sketchy lines since entangle. By drawing these lines, we are actually exercising a kind of meditation in motion. There, love how Ellen and these look. And now I'm going to fill them with orbs, testes Y, this sections. And the way I'm going to do that is just by adding the central first, central one, and then I'm going to add the others. Not by joining the whole circle. By doing this, I'm getting this illusion that apart of each of these dots is hidden behind the neighboring one. And I'm going to do the same with other two petals. So drawing these repetitive patterns, repetitive strokes and details, his words entangle is about or we are trying to basically reduce the number of decisions that we have to seek during the creative process. You don't have to draw many tangles and many details to draw a beautiful drawing you can to really beautiful finish relieves beautiful drawings by just using one single or maybe a couple of them. And you don't have to, I know how to draw many tangles to be agreed, triangular. So just relax and you can only use a few tangles the to feel most comfortable rate. So this is the first part of the process. And next I am going to just fill these spaces between my orbs with some black ink. And to do that, you can either use the same pen that you have used for the line work or if they're bigger spaces to feel. You can feel them using maybe a pen with a wider tip. And now this is a moment to really enjoy and focus on the drawing process. So I will be silent for a while when my continue doing this. And you can just enjoy your strokes. Okay. Okay. 3. Line Work - Part 2: Now I will do the same on these petals, but since these spaces are, are a bit bigger, I'd souk a graphic one pan which has a wider near input. And I will just use it to fill these crevices with black ink again. Maybe there are those of you who don't know me. I am a CCT 32. So I went to Providence in 200818 and got my sense angle teaching certificate. I started teaching a year ago in November 2019 when I published my first video class. And since then, I have had many video and live online classes. And I'm really enjoying being Zen tangled teacher. You will see me as I draw, going back to certain places that I have already finished. Just retracing some lines may be adding some details here and there. I just keep observing my drawing as I'm finishing the project. And if I see that there is a spot I like to revisit or something I would like to. Python like saying figs because I'm not considering any, any imperfections, mistakes. But I'd say like coming back hand, maybe adding a few touches or retracing a few lines, or maybe adding a bit of ink here and there. So after I'm done with a line of work, this flower, I will go to fill the spaces between my smaller petals. So this smaller spaces, I have three of them here that are rather smaller than the ones on the other side. And what I will do is I will squeeze some Tripoli tangle inside it. And the way I'll do it is by first drawing this line, which goes kind of in the middle of each triangle that I have here. Up to the border, to the border that I drew. And then I will just connect them all with the tops of my petals. Again, not trying to draw any perfects lines. So now we have some, let's say triangles but with curved sides, slightly irregular. And I'm going to just add some lines to draw tree police. So I'm adding these C-shaped lines that connect the corners of my triangles. And here where I'm starting with a C-shaped line as the side of the triangle. My line might be similar to a straight line, but he doesn't matters. So I'm what you do is just connecting and the corners with lines that flow nicely from one corner to the other. And this is, the lines are not perfect. You can see here my lines are not all perfect and straight. Some of them are nicer than the others, but all of them are enough. Just as we are enough. To finish. Tripoli. I will kind of Zhou an orb inside of each of these central triangle spurred. I am not drawing the whole circle and just drawing these short C-shaped lines again. So that it looks as though in 4b is hidden inside this triangle and we only see the central part. It's really easy. There is no room for mistakes. Just relax and let it flow. Such as a thing or two about me. I'll start where I left off. I got my certificate in 2018. At that time, I was working in finance and had been working in financing corporate finance mostly for 20 years. But I was really looking for something else to feel a kind of a void in my life that I felt while looking at numbers and spreadsheets. And Zen entangled was allowed fill that void for me. So at the end in 2019, I resigned from my position and waited a bit more until my contract ran out. And here I am now teaching and tangling. 4. Line Work - Part 3: I will feel these other spaces between the pedals with some more cuts, angles and lowercase. One of my favorite tangles, it's so luscious and beautiful. I always started showing MOOC by joining this outer line. Then drawing almost a circle before stopping here to form this pod. And then connecting the pot to draw the other part of the stem. And now I am drawing another one, but you can see that it's hiding behind the first one. So I'm not crossing any lines, drawing over what I have already placed on paper. I'm just imagining the lines that extend behind the ones that I have already placed on paper. And you might fit to or free. The number doesn't really matter. I'm not trying to fill this whole space with no cost, just adding a few of them. And I will add 2 first and then see if I need to add some more. And when I said when I sudden need to add, of course there is no need to do this one way or another. We're going to just trying to do what seems right. In terms of how I view the aesthetical part of this creative journey. And something that looks beautiful to me might not look beautiful too. And that is why you just have to keep observing your drawing and adding triangles as you go and decide if you want to add some more, or maybe just leave it as it is. I will also add maybe a few poker routes now, and I will add them to fill some of these spaces. Between my MOOC has or between the petals and the MOOC has. So if you have some extra space like I do on my style, you can do it. If you have already feel the earth soil with new costs, then just leave it as it is. I think I can fit one more here to throwing a small stamp and then adding this C-shaped, drawing, this round the shape. Maybe one more here. So if you are new to sense angle than the names of the tangles might be confusing. But when you see the names of the tangles and then look at the reconstructions of those tangles. You will see that they are also simple to draw. And you just have to take it one line at a time. And every, everybody can do it. If you can. And draw a circle or an O, if you can write an I, a C. And then this, and then you can draw and its angle. Of course, the more you draw, the easier it will be for you, the more flow you will have and starts to develop your own style. And I have to think too much about the names of the tangles. Which one you will use. These are some of the tangles I return to all of the time. Some of my favorites. I might add one more here before I call it then. And I like what it looks like, but I might still add something on the other side. And they will not over complicated. So what I'll do is add a few more triple is we'll draw a line here that extends from wire. These triple is meat, and then add lines that connect. And maybe one more here. And now, if you are looking at, looking at what I'm zooming, it might seem too many details, so it seems just too much for you. You can just stop it and then call these design finished. And I can see that I have some sense sneaking game here with me. So I'm going to have to move my table and bids. I'll just continue working on these three police here. So I will do exactly the same that I did previously. Adding these lines to connect the corners of the triangle. These are bits more. But the principle is the same. If you have observed my drawings, you might have noticed that I like tangling. Kind of big. So I rarely use a really detailed and really small images in my drawings. So this is maybe a bit smaller than I usually do. And then I'll do another thing I like doing kind of connecting one side of the design to the other using some same images on both sides. I have here this orb, so I'm just going to add a few orbs here to maybe kind of balance. And these design by using the same segment on both sides. And now if I observe what I did already, it seems to me that it might be just enough of these details. And what I'm going to do here is I will feel this basis between the tangles with blocking. And it is going to take awhile. But I love deep contrasts and this is why I will zoom it and you might decide to skip it. But I'm just going to color all of these spaces between my tangles with some black kink. And they will actually stop recording the video until I'm finished. And then you can decide if you would like to do the same or maybe just keep tangling with me. Because I'll start recording again when I'm done with adding the black king, you might maybe decides to look what it looks like. Take a look at what it looks like after I am finished and see if you like it better. Before or after. 5. Shading - Part 1: And now you can see what the drawing looks like after adding all these ink. And the next thing I'll do is just add these rounding. So basically all of these small sections, crevices between my tangles. I will add these surroundings between them. And they think it will. Software needs a little bit and maybe add some more contrast and drama, and which is what I love seeing in my drawings. So if you want to do it along with me, You can do it too. These are really some, just some touches that you add to your drawings which can really make a difference. At the end. In fact, I will also add some surroundings here at the very bottom of this lines on my petals. I think it will add a special touch and contribute to the shading process. And they will not. And sew it on these two sections right next to the space where I added the 4Ps. So which is the ones that have these wider and then of an elongated triangular section. And I'm not sure if you can sell just by following me, but it's not that I have a plan on what I'm going to do. So everything I did was basically really based on instinct. And sum her previously made Plan. The only thing I'm wondering about now that I'm looking at my line work is this small section which is maybe a bit, it's empty, but I think I'm just going to leave it as it is for now. And then when to start the shading process. I'll start right here where I added the surroundings. So I'm In these graphite trace along the line. And then I will take the blending stump and smudge it. And while I'm doing this merging and trying and that's to go over to these neighboring sections that I would like to live without any shades because this is what makes the drawing look appealing. The contrast between these parts that are shading and right next to it, right next to the deepest shades right here are these sections without any shades at all? So I'm trying not to go over the lines, but you have to, you know, that the even if you go over the ones, you can just either ignore it or maybe C can eraser and erase. No incentive angle. There is no erasing. But I'm not really some kind of a Zen tangled police. So if you feel better by fixing something, if you think that you will be happier if you make some corrections, I would say just, just do it. Well, I thought that I would get some sun back. And they waited for a couple of these Buchner that they see that there is no sun. I'll just keep making this video and they'll hope that you will enjoy it with me. I have also changed my nail polish, you can see. So as you know, I started to shade these parts around the central triangle. And the way I shade it is that I add some shades whenever two of the triangles overlap. So if there is part of a tangle that's hidden behind another it's angle. I want to emphasize it by placing a shade right next to the line. Of course, on the part or the turn goal that is hidden. And additionally, I'm also adding some shades. Right here on my poker wrote next to this small C-shaped line. And at the end, I will also add some other sheets to my round shapes. But for now I will just consistently add shades right next to the line where a part of its angle is hidden behind the other tangle. As I said. That also means that I'm going to shades right where the stems of my Polk route and Luca are disappearing under the neighboring triangle. And now I'll just take my blending stump. And they will smudge these penciled traces so that I have nice and soft transitions between the shaded parts and those that are not shaded here that might be highlighted, can be played turn. These kind of quite simple and intuitives entangle inspired designs like this one, where there is no geometrical structure alike in a Mandela, let's say, and there is no, any expected outcome. Those are the ones that really can relax you. Like this one, starting just over the center and then expanding the design towards the edges of the tile. So there's almost nothing you have to take care of. Meaning. Is your starting points a little bit on the left or on the right side. It doesn't really matter because each of us will have a similar if you follow me and even if you use the same tangles, if you try to position them the same way that I position my tangles. Each of our drawings will still have its individual, let's say character. Like each of us have their individual characters. And this is the beauty of Zen tangle. And you can see that in this part where I nest it's CPOE or some orbs. Inside the space. I'm using some shades. First to enhance the positioning of the orbs, which are partially hidden behind each other, except for the central one. And then I'm also using some shades right at the edge next to the line. So that I have some, let's say illusion of that. And later if we add highlights, eight will be even more enhanced. I'm also had some sheets right here where one, or let's call it the leaf. My. Its angle goes over the other one. And then we'll also add some shades on the flux just to one side of the triangle. And right now, I'm not really thinking about the concept of source of life, which I am sure all of you or many of you have heard up regarding the shading process. So I'm not using it right now. I'm just trying to add some contrasts between individual triangles by using the shades quite consistently in a way that one section of the triangle that is shaded like here is positioned right next to the section of the other tangle that is not shaded. So this is all about the contrast. The shaded part right next to the part that is not shaded, or that we might later highlight. I think that I need a bit more shades on my flux. Again, I'm shading a gain the same side, which I just shaded before. And as I'm working on this great style buys entangle. And this paper is very specific. It doesn't, let's say, absorb as much of the graphite trace as the white or the Renaissance style bus. So it might need a bit heavier shading, let's say. 6. Shading - Part 2: I decided also to the ssh bit of shading right here, next to the section of the triangle in which I listed the 4Ps in the middle. So what I am, the way that I'm usually making the decisions, of course, it's already based on my experience, but I tried to be playful about it. And sometimes really think about think about the shading, let's say outside of the box, try not to do the exact thing that I usually do and see what kind of results I might achieve. So now you can see that this part, which was not shaded, is a bit more accentuated. I'm also adding a bit heavier shades here on the sides of the Arabs to so that I might get the illusion that these orbs choir hidden beetle deeper between like, like let's say peas in a pod. And then later, we'll be add highlights. I hope that this effect we'll show even more. And now for the shading of the, of these round shapes like mucus and orbs. And Polk wrote, I'm trying to decide what is the upper end, what is the bottom side of my design and when I can trying just to rotate it and observe it. But they think that this position is the way that I like. So I will imagine that right here at the top is my light source. And this is how I will approach the shading of these round shapes. So I'm trying to add some shades consistently on the same side of all my Round shapes, meaning the mucus, the POC route, and the Arabs. So you can see that I'm adding these sort of a smiley on all those shapes in the same and then placing it in the same section right opposite from where I marked that my light sources. And they will also do the same these orbs. And that's too much because I also already added some shades to those sections. And then of course, I will just take my blending stump and blend it. And if you pay attention to the way that I blend the shades, you will notice that time holding this blending stump at a very low angle. So almost parallel to the paper. I'm just kind of nesting it in my hand. And I'm smudging these shades from the position where they are. The strongest or the darkest. Towards the place where the imagined light sources. And my intention is not to blend the shades all the way to the tops of the shapes. It's just to blend them and maybe cover half of the shape. Or it might even be less. With this graph hides traces. And next, I'm going to shade tree poly. First, I'm heading the shape right here. My the different tangles, meat so that I can accentuate where they meet. And put you wanna do is add pencil traces right next to the black line. So you don't want to have any space between the line and the shade. I'm now going to hit some shades on the lines where my orbs meet these triangles on the sides. And this way, I hope the table make actually these Forbes pop. And the next thing called Xu, I'm at some shades in these spaces where my triangles meet. And then I'm going to spread this pencil trace away from these spaces with a blending of these orbs. I'm trying to pay a bit more tension. But as I said, I will also add highlights later. And you can see that I'm not really obsessing about being precise. I'm just commenting it flow. And with these small orbs right here, I'm going to pay attention to the emerging light source again. And then just these small c shapes kind of smile is in this bottom part and then smudge it. And we are done with the shading so far. And now I'm going to take some highlighting supplies and continue the process. Now it's too wide. Cole Joe Conda, by core hand nor its basically the same as Zen tangles. Quite charcoal pencil. So what you wanna do is if you are working on a great style for maybe Renaissance style, then you can use your either charcoal wide or some kind of wide pencil that you prefer using for the highlighting. And you can add some white charcoal traces to those sections, or fewer triangles that are right opposite the shades of meaning that are facing towards the light source. And right here in these Orbs, I also have these spaces where there are no shades or where the shades are and it's lighter. And this is where I'm using also point charcoal pencil for the highlighting. And you can see how there is some charcoal trees left. I want just blow it away and then I will take my blending stand, the one that is designated for the white. And they will just lightly go over these highlights and blend it. And again, there no need to obsess over doing it perfectly. And just trying to spread it and make it maybe less traumatic. 7. Shading and Highlighting: And the effect is not really dramatic because this is very light and great style. But if you were working on a darker create side, it would certainly make more difference. I'm just highlighting these tops of Fox. And what I will do now is I'll take the white pencil. So it's not the charcoal pencil is just a colored pencil. The one that I'm using these Babylon by current dash. And I'm using it because it is much easier to control it on these smaller spaces. Then the charcoal pencil, because a charcoal pencil, it leaves the trace the charcoal trays almost the moment that you attach to the surface and then you have to blend it carefully so you don't smudge it over the black lines. While the white pencil is better for these smaller parts, where you don't have too much space for blending the shades. And this is why I prefer it on some smaller surfaces because it's easier to control it. It's easier to be precise. And as I said, it's a light agree style, so I'm not looking for any dramatic effect anyway. To sum here. So if, for example, I used the charcoal pencil right here and wanted to smudge it, I would certainly smudge it over the black line and then the black line would not be as dark as it is right now. I'm thinking about maybe adding some shade right here to the bottom of the tile. So here is my light source. I will adjust the BTO shading so that it seems that my the whole drawing is kind of elevated from the surface. And I might met succeeded, but at least I will try. It seems to me as if I had forgotten about. Blending, you're part of this. So as I said, I'm trying not to forget about the source of light, it's here. And then I have to think about where the shade would fall if this was a 3D design. And then to seeking the blending, penned, trying to blend it. If you're using this very soft pencil icon I am using here, the 8B. You might really get to the pencil traces and get into the fiber of the paper. And then it's not as easy to blame the bowl. And if they are places of a lighter color between the shades, append your lines, you can just add some more. And the last thing I will use my general tend to just add the lightest highlights. And again, you will not see any dramatic effect from using this because it's such a light color of paper that we are starting with. I might also add some to the stems of mine Lukas that are turned towards the light source. And if it happens that you go with your wide the Jelly Roll Hoover, any of your black lines. It's an easy thing to fix. Just take your black pen again and go over the line and revisited and everything's fine. I'm adding just a little bit of the highlight inside piece. Orbs. And they're kinda like what they look like, like they are really like peas in the pot. It was exactly the effect that I was going for. Some white also to these orbs that are squeezed inside my AAA. And also to those sections of my small orbs that are turned towards the light source. The few lines right next to the line. And then I didn't have to worry about making it any of those Marx really precisely because there is not a high contrast between the color of the Jelly Roll and the color of the paper surface. So I can just relax and do it. And they believe this is it. For the last thing I'm this is a piece of equipment that I love, although it's not really kind of goes against entangle warm rules. It's a mono 0 really fine eraser by Tambo and just use it to erase the small x that was supposed to mark where the light sources. And by doing this, I might and the project. But for those of you who would like to maybe try. One more, two. I took the probe marker. It's an alcohol-based marker. It's warm, gray and not really dark one. It's quite light. And I'm just going to go over some sections which in my opinion would have the darkest shades. Maybe just to add a bit more drama to the design. And the effect will be really soft and subtle. But I still love doing it. And the rule well, I guess it's not the only valid for xanthan gum part for penny kind of activity in your life. The more love you give to it and the more time you spend with it, the better the outcome will be. And the same goes. With Zen tangled drawings. Interest, observed them and spend time with them. Give them more love. And I'm quite sure that you will be satisfied with the result. That is not to say that you cannot be happy and satisfied with a quick drawing by all means I really love spending even 15 minutes of my time spent on throwing if I'm in a hurry, can change the course of a day, really influence it. So, yes, of course. But if you are also going for how nice artistic effect, then it really makes sense to pay more attention to the design and also spend some more time looking at your drawing and seeing what needs to be added. And now that I look at it, it seems to me that I don't like this last flux. And whenever you try doing something like this, meaning trying to fix something that doesn't really need fixing. You risk. Also, there is a risk of making it worse than it was, but I will still try to just make this shape a bit nicer. And we'll see if I can succeed at it. So I just use the black pen to around the edges and then add some white highlights along the line. And I guess this is a I hope that you like the drawing and I hope that you have also tried to make one yourself. Thank you very much for spending time with me and drawing with me. And see you in some new class.