Symbolic and Religious Art Composition: Create Meaningful Abstract Art | Kimberlee Everson | Skillshare

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Symbolic and Religious Art Composition: Create Meaningful Abstract Art

teacher avatar Kimberlee Everson, Mom, Artist, Hiker, Believer

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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

8 Lessons (49m)
    • 1. 1 Introduction 1

    • 2. 2 Project Examples

    • 3. 3 Materials

    • 4. 4 Drawing part 1

    • 5. 5 Drawing part 2

    • 6. 6 Refining the Drawing Part 1

    • 7. 7 Refining the Drawing Part 2

    • 8. 8 Finishing the Drawing

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About This Class

This class teaches the process of creating a drawing that includes symbolic elements that are meaningful to the creator.  The drawing created by the instructor is religious in nature, but any meaningful composition can be made following the same principles.

This course teaches:

  • Basic composition skills
  • Using online images to create a unique work of art
  • Adding details to make the drawing look more finished

This course is appropriate for beginners.  No prior experience is needed, and materials used can be as simple as pens and paper. Some students may wish to have access to a printer and carbon paper for their reference images. 

Meet Your Teacher

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Kimberlee Everson

Mom, Artist, Hiker, Believer


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1. 1 Introduction 1: Hi, In this video we're going to talk about doing abstract art that is symbolic in nature. This is an abstract religious peace. It is done on wood. But in the course we're going to talk about doing it on a variety of different types of surfaces. We're going to cover everything from how to create your composition, how to get your at your ideas so that you know what you want to convey to making a finished work, but that has some finesse and beauty. I hope you'll join me in this course. 2. 2 Project Examples: If people, there is, if they're looking to the cross and, and Jesus reaching up to them. So it's just a matter of what you want to express. Figures and shape. 3. 3 Materials: Let's talk about supplies. You can use a variety of things. The first thing you need to think about as a surface, all you need is paper. I'm going to demonstrate on this thin piece of wood. This is a pack of API 11 Larry by 12 or something like that. I guess I can double-check what it is. These are almost 12 eight by almost 12 inches that I got a Fama's on a whole thick pack of him for quite cheap. It's fast. And I've pre-prepared with polyurethane, painting parallel urethane on it and let it dry. If we use something like wood, that's wrath. You want to do that. Otherwise, when you go to use pens on it, which is what I'm going to demonstrate here. They can feather and also can damage your tips very quickly. So that's something to be aware of. We can also use thicker panels. For example, this one, it's like a panel and it's, it's thicker. But you can use about anything you can think of paper is just fine for the sake of what you're doing in this course. I'm just going to use this particular piece, time. And you can have it face either direction you want. Just need to think about what you're doing in terms of composition. Now, as far as otherwise, whichever surface that's properly prepared, it could be Canvas. Of course. You can have primed canvas and you can do this as a, as a work of art on Canvas. Or you can have just paper. Once you have this surface than you want something to decorate the surface with, you can use any kinds of pens. I like Posca paint pens because they're quite opaque, high-quality. They come in a lot of colors and a lot of tips. And so one thing that's really nice about these is that these tips here are fairly good quality, but they can also be replaced when they get damaged. So you can buy just the tips. And if you haven't used up all the ink and your tip is getting shredded a little bit particularly can happen if you do something refer like wood. And then you can just pull out that felt tip that's in the end and put in a new one. So that's nice. Another thing I like about these is that they're opaque. And so that means you can layer them. If I have drawn something with this light blue and I decide that I want to do something darker than that's easy with most pants, but I could discover it was something lighter, maybe just real light gray that I wanted to cover up all or part of a mark and may previously with so that's something that to me is makes it quite valuable to use that as far as thicknesses, the thinnest ones are 0.7 millimeters. You can see that. Try to hold it still enough that you can see it's a very tiny tip. There. Looks bigger because I had it up close, but it's a tiny tip and is very good for detail work. There are two different styles of 0.7 pins. One is called pin type or Calibri, which is what this is. And the other type is bullet. The bullet types. I don't like as well myself because they tend to spatter, especially if they catch on something like on wood or an anything that's at all rough, the little tip if it can catch and kill, I do a little spatter. So I don't particularly like that for the fine once most of the work I do, I do with these medium. Well, these are actually called fine. These are the, these are ultrafine and these are actually fine tip. These are a 3M, they're called bullet shaped. 0.9 to 1.3 millimeters come in a million colors. And these bullet tips that you can do fairly fine tip work on them, but not as fine, of course as you can with the other. And they're really nice for the bulk of the drawing particular on something this size, I would probably do that for a lot of the drawing. Using this for the fine details. And they come in a variety of colors. You can also get pens that are quite a lot thicker. This is just an example of one of them, 4.5 to 5.5 millimeter. And you can see that's a huge tip for shading and big areas, really nice. You've got, you can get ones that are more of a chisel tip that are all different sizes. And you can get these bullet tips in a range of sizes. And I like to have in black the whole range of everything. You can also get a brush tip that works a little bit like painting with a brush. So that's another possibility that you can do with all of these. Okay? So that's the basics of what you need. You just, you could use a different kind of pen if you want. You can use watercolors on watercolor paper. You could do whatever you want. But this is what I'll be demonstrating here. 4. 4 Drawing part 1: Once you have your materials ready, you need to think about what you're going to draw. And that's where I know it can be a little bit of a challenge where you want to think in terms of what would be meaningful for me to draw what is as I'm thinking about at this time, What is it makes me touches my heart right now. What is helpful for me to do this point is to gather a lot of images for inspiration, not to copy directly, but for inspiration. And I typically will do that on. I'm just Google images or wherever I can see things among. Again, I'm not going to pleasure is or copy. Somebody's are particularly that I'm going to use it for inspiration. And I might use it to pull the inspiration for the gesture. This shape is specific figures that are going to go into my art. I don't necessarily plan a whole piece out in advance, and that is something you can do. So I could get a piece of paper. This is cheap, that if I were using an extensive, something expensive and really wanted to have a high-quality result. What I could do is I could draw my idea out on paper first. However, one reason I don't typically do that is I liked the spontaneity. I feel like that. As I'm working on one particular piece, I get inspired as to what to add to it. And when putting different spot, I mean, I start feeling like the way that shape actually turned out this particular time lends itself to have such and such a shaper figure next to it. And so I start thinking as I go. I usually start off when I was an idea or one shape and then I build from there. What I want you to do is what I'm gonna do right now is I'm going to start off by framing in. I don't always do that, but I find that I like the results most often when I do so I'm going to suggest that particularly if you're working on paper or on board like I am, it looks quite nice. And by that what I mean, as you can see here, that I made an edge all the way around. Okay. Now, there's a couple of ways to do that. I can like blue tape it. Draw, draw a line. Sometimes I'll do that if I'm on a particularly expensive piece of wood or something and I don't want to ruin it. Or I can drag freehand. And I'm going to go ahead this time and direct freehand. And I like to do it first again because it kinda gives me a frame for what everything else is going to work from. So what I'm doing is how big I make that frame depends on the size of the piece. So in this particular case, I'm just going to, I often do about half an inch, but if I'm on a piece like this, but if I'm in using a much larger piece, then of course, I will make a larger border around the edge. So it just depends on what sounds visually good tea you kinda wanted in proportion to what you're doing. And again, I'm doing it freehand now. The reason I'm doing it freehand is unthink. Feel like in the end it looks a little bit nicer than having it too tightly controlled. You can see that I'm not exactly perfect. It's okay because all to the inside of this is going to be something done with it. I am not going to just have a thin line around my whole piece. As you can see in this particular one. We're wherever there was a thin line, it became part of it. And there are only a few places where it looks like just a line. And even then I ended up making it a little bit thicker. So that's what I'm going to start off with here. And I know you might wonder, well, why are you doing this before you even figure out your composition is because I can, again there, once, once I have this drawn in, then it helps me visualize a little bit better because I know this is where the edges are and where it's going to start. Now again, you can plan out your whole composition at a time. See it kinda MFT that up. It's all right because I'm just adding another line here and that's going to get filled in and so forth. That just gives me a beginning to frame and work with as you'll see as we continue with the project. So again, what I'm going to do is I'm going to start with an image or an idea that I want. And then I'm going to build off it. So here are some ideas. If you're doing religious symbol art, assuming you're doing Christian art, which, you know, you don't have to perfectly respect all religions. You might think in terms of something with Jesus. Do I want to make this maybe something that's like nativity based or go, I want to make it about the crucifixion. Do I want to make it about Jesus carrying the cross or do I want to make it about people praying and worshiping Jesus? Do I want to make it about Jesus? Healing people are washing the feet of his disciples. That's a starting point and you see, I'm just softening the edges here, the corners as I think about it. Just to remind me that I want those corners to be soft and I don't want to. I don't want it to be too starkly framed like when I'm done. So I fill those in and I could have done that with a larger pen. That doesn't matter too much. So what I'm gonna do is I'm going to just start. And I know that sounds a little bit crazy. You may think in terms of wanting to plan it all out. But honestly, as I said, I have better success the more spontaneous I am. And what I wanna do is I want to start with, and this particular piece, I'm going to start with the eye, with an image that inspired me that I found. Let me just show you. You can see that I just found that in Google Images. Jesus hugging the world. Now I'm gonna make something kind of like that, not exactly as a starting point. And from that, I'm going to think of feel about what is it that feels right to me to add to that. So I'm starting with this whole idea that Jesus loving the world. Now, if you're not confident in your free hand drawings, There's nothing wrong with printing that off. Using carbon paper to kinda get the outline of where you want it. Assuming you on a little more realistic. I tend to be very in favor of myself doing more abstract art. So I'm going to do not be so worried about it being perfect. Plus a monomer confident, I'm confident. Okay, so what I'm doing is I'm starting with this globe. I'm not going to draw it all the way around because I'm I'm not quite sure whether I'm going to have his hands overlapping onto it or something like that yet. So I'm just going to start with that there. And then I'm going to think in terms of, well, in the image that I was looking at, I have, have Jesus's head here and he's leaning up against it. I've got a shoulder that comes in here, kinda wrapping around. Now let me just show you again, this is what I started with and I'm kind of looking at to give me an idea. It's just for inspiration. So I've got his head here. Now, what you wanna do is you want to think in terms of, okay, I'm starting to get an idea of what's here. What makes this look like Jesus to you? Again, if you're doing something abstract, what would make it enough look like Jesus to you? Is it the fact that he has a beard? Can you see his hands and see that there's the holes in His hands. What is it to you makes it feel like Jesus. And you can use other reference pieces to do that. So for me, I think at this time I'm going to just do the traditional Jesus. He has longer hair and he's got, so I'm gonna make this a little bit like the picture, a little bit of a suggestion that he's got a beard here. Because to me that makes it feel like Jesus, am I going to put in a lot of facial features? No, I'm not because I tend to do more abstraction and I'm going to work around that. So now I think about what do I want to, where do I want to go with it next? I want to do like they had a hand down here, two hands here holding it. I don't want it to be that literal myself. So what I'm gonna do myself is I think I'm going to finish this. I'm going to draw the arm around. And I'm going to have his other arm come around like this as if he's hugging. So again, that's very much not realistic about her arms are shaped or anything like that. But it gets at what I would what I would like to get out. So I've got this little bit of this piece of work started. And then the question that I think about is in terms of the earth itself, the example that I was looking at, they've just got squiggly Earth miss quickly Earth's landmasses. I think I'll probably do something similar because I'm not really worried about it in this being realistic. I'll just make some, something that is suggestive of it being planets To suggestive of it. And so that's typically where I go with it for me, the important thing is about the meaning behind the particular piece and not about it looking realistic. So I look at this and what you wanna do is you think, okay, I just sometimes fiddle and smooth things out. Well, I'm thinking, so I can work on refining this piece, this part a little bit better. Okay? Which, this is just sketchy. Now we're going to, we're going to improve this so that it's a lot better. Or I can start adding other pieces to it. So you want to start thinking about what might relate to that. What I'm going to think about here is I could do something like having various angels around, right? That we're watching over this process. I could do something that looks alike. People were shipping. I can look at something that was something like crosses and the distance or even draw them in on earth. Okay. So there's a variety of things I did, or I could have all of those elements and combine all of those elements together. What is it you really want to get at meaning wise? Well, with what I've started here, this ask myself, what is that prompted me to use this particular image as a starting point? What is it? It's like, well, what feels good in my heart right now is thinking about Jesus hugging, loving the world. How Jesus loves the world. To me, that something that, that is very touching and meaningful to me. And so what I wanna do is maybe other images that also get at that in a variety of ways. And to you it might be something different than it is to me. And again, I might go look at some reference pictures at this point in order to figure out what it is that I'd like to add in next that gets at that idea for me. 5. 5 Drawing part 2: So starting here, I've been thinking about what is it that I want to express? And for some reason I keep thinking about something about like the hand of God reaching here. Like maybe I'm imagining God, the Father reaching, reaching downwards or somehow interacting with this image. And so I look at a variety of images. And until I find something that that's helpful to me in, in drawing that until I see may look a variety of hands maybe and so forth until I see a picture of a hand that really for me gets out what I'm feeling. And I can use that as a starting point for the next piece of, of what's going into this drawing. So I'm having done that, I'll show you what I found is I just kept seeing the picture of this is from the, this is a simplification from the Michelangelo painting. You know, where God the Father touches Adam's hand. And for some reason I just want to have this particular hand here. Like reaching downward, like it's almost touching this, like says God the fathers created this situation and made this all happen the same way, hey, created Adam. And so what I'm gonna do is I'm going to use that as a reference picture. And again, if you wanted to print something and use the carbon paper or something like that to get the shape a little bit more accurate, you can, I'm not really too worried about that again, because I'm going abstract. And I want my angle. And I imagine this being much more at a downward angle. So I'm just going to look at it and think about it that way and draw it. Again. I'm not going to worry about scaling size. Jesus, is this scale. The earth is huge. The hand is going to be whatever, whatever size I make it. And I guess the main feature of the hand is going to be the finger. Because this is really an image of God. The Father. Pointing his finger down to touch atom has he creates him. Okay. From this, from this particular work of art. And I'm just going again, I'm just kind of free handing this because I'm not too worried about it being perfect. I just really wanted to feel like the right feeling more than looking exactly right. And if you're worried about details of it looking right a little more than I am. And again, Yeah, carbon paper can be can be really helpful. And I just was talking in angle that wrong, so it's just going to be part of it. And this is what I call the messy sketch stage. That's okay. The hits, that it's not really perfect. It's okay that it's a messy sketch because that's what i'm, I'm doing is I'm just kinda getting the shapes I want in there. And there'll be, you know, maybe maybe I'll be done with this and won't like it at all. And I think this hand looks horrendous and I'll make it into something else that happens. And maybe I'll regret that I didn't use a better means that I didn't do it more slowly and carefully. It's a little bit harder to do while I talk. I'm distracting myself from focusing. And it's kind of is this little bits not severe, but it kinda, kinda is what I wanted to get at. And by the time I finish on it, stylize details which you'll see in a later point. This can, this is just kinda sloppy composition thing. And some people are going to do this on separate paper, that's totally fine. I just find that something is lost whenever I do that and I like the spontaneity of doing it as I go. Okay, so I've kind of got the basics of of that particular shape in there. The supposed to be a finger and a hand. Okay, So I'm pointing downwards. And then, and then we've got a another finger coming down as the pinky coming down that way. So that's the basic beginning of that. And then I'll lose the thing. Do that again where I just kinda thing what is it that for some reason this makes me think of. So, so none of this kinda like that. Chain thinking game-like. I thought about what does that make me think of? Well, for some reason, this makes me think of mountains. Now, you may think that's a really odd thing to say, but it's okay because it's my art, right, and not yours. You can think of something different that I always think of like Jesus going up on the mountain to converse with, with his father in the New Testament. And Jesus creating mountains and something, and mountains being essentially temples for Moses in the Bible. And they're just a very sacred thing to me. I could look for pictures of mountains if I need to for reference that I already have or I can just and if I'm confident of expressing what I want, I'm just going to, I can go ahead and just draw in the roughly I'm a ion because of course mountains can be anything. They can be very shapes. And that can, again, either be because I referred to them somewhere else or is just what I've got here. And often there's kind of these lower ones with mountains as well. Again, you can use references and sometimes if you're not accompany in your drawing is this header look at references of other people's drawings than it is to be looking at the actual picture, photograph, photograph of something like that. Okay. So I've got to start if things here I could, that could be all the images that I have in the, in the whole piece. Or it could be that I want to add in some more, some more symbolic images, other places. I always find it really hard myself to draw symbolic art representing Jesus without in some way including crosses. I could just draw them on these mountains here are on the earth. Don't have to of course have those. And I feel like what I wanna do is just have like almost a higher mountain here. And I know that may seem a little odd with crosses on it. And i o is like you can just draw one, but I always like to draw the three. Okay? Now, there's a lot more detail That's going to come to all the various parts of this, but this is just kind of a start of some of the things. As I begin to improve this, I will find other places that I might add in other figures. Maybe I hadn't some worshiping figures or a dove or a variety of other things as I go. 6. 6 Refining the Drawing Part 1: If you've seen my other videos. And here, now where I like to be careful, of course, is when you've got fine details of a face. You don't want to. If you want to be a little bit careful not to lose what you've worked hard to express with it by with your lines. And this is going to get refined even further again, when I get in there with either adding some color or adding some basically like textures and lines, striping kind of stuff. And I think because of my other courses, I focus on adding in a little bit, just a little bit of color. I'm going to focus on adding in some shading shape type stuff to this particular piece. Now, this is another thing that I want to do before ever seen much further is I like to anchor it to the corner until the walls edges. Okay. That's one reason I drew him in first. And I want him to be just floating there and want to have him anchored in. And so you can do it, of course, by filling in. The purpose of that. 7. 7 Refining the Drawing Part 2: Okay, So we've gotten this far in our project. What I'm gonna do now is I'm going to work a little bit more up in this corner. And I'm gleaned piece of paper to shield my hand from smudging what I've already done. And I've been thinking about it. I think what I wanna do is put kind of a sun, moon, stars up there. Be really tempting to just do that child this corner. So I grew up doing, so. I actually think i'm, I'm gonna do a variation on that. And the way I'm gonna do a variation on it is I'm going to do like three-quarters of a sudden. So not entirely no sun, not the whole thing and not the Carter Center or whatever they used to do and as a kid. Okay. So I've got that. I'm going to add a link to that, but this is where I'm going. I'm going to fill out a little bit in terms of the edge here. And I don't like it to look like just a single pen line. I like there to be some variety to the shape as well to the line. Okay? So I've got the basic shape of the sun there. I'm gonna do the successes as symbolic drawn, not a realistic drawing. I am going to do some of the sunbeam things. But before I do that, I want to get my moon in because there'll be some overlap. So I'm gonna go ahead and dry in my crescent moon here. Wary about stars in a minute. Because I'm, as I do, these is different sun rays here. Then I'm gonna do I'm gonna do some like that. Some straight ones. They're going to be like they're behind this one. Even though my drawing is fairly flat. I do like to overlap things and fix things up a little bit. Again here, I don't want that to be just like a single line because I think that looks very nice. And I'm going to go through, and I think what I'll do is add some detail into. And then I'm just going to refine the edges. Just like with everything else. I don't want it to look too much like it's just then even pen line. Now I'm filling in here. I'm not going to fill in necessarily all the dead space, negative space black. But I'm going to do some of it a little bit more nice. I'm going to soften those angles just a little bit. It can be anything. I have my son and the space around it, how I want it for the moment anyway, and we can fill in more black background, white or some stripy in the background. I'm not quite sure yet. So I've got my moon as well. Now the next thing I'm going to think about how stars, the stars perfectly symmetrical because so I think that's enough stars. I'm going to go ahead now and do some filling in black. You can kinda see it's an ongoing process of deciding what you wanna do next. Maybe doing a little bit of research for something as a reference photo. I started drawing it and roughly and then working on fine-tuning year lines. I'm going to go ahead and smaller pen to finish those details. Filling in spaces and working on improving the look of your lines. So that's kind of the idea. And as you do it, you can be thinking about, well, what is it you want to, want to be next in your, in your piece? And I find that sometimes these can take me awhile. Sometimes I have to stop. And think iconoclast lost point there. I have to stop and think about it. Come back to it if you are as few days to figure out what I wanna do next. And just keep in mind that realisms not really the point here. You don't need to have anything that's in an chronologically makes sense. You know, you can have things that happened at different points in time right next to each other. You don't have to have it like a story. So that thing is on the left happened before the things on the right. And just do it. Whatever seems to fit right in the next, in the space next. So that needs a little bit of fine tuning to dry first. But I think what I'm gonna do is fill in the rest of that black now I think now I know I'm kinda want it black. 8. 8 Finishing the Drawing: Okay, so for the rest of this, I could add in more detail, there's a lot more space that I could add figures and other things. For the sake of this instructional video, we're not going to do that. I'm going to go ahead and work on refining what I have been filling in it. Now I'm not going to just fill in the whole thing black. Course you can. I think it's often interesting further than negative space to have some of it filled in black. Some of it possibly, some of it possibly with a texture like a stripe to it. So it's just really a matter of what do you think would look interesting and meaningful unless matters in this particular case especially. So what I'm gonna do here is I think interesting because I've got some stripy stuff going down in this region to add sum up in this region. So I think what I'm gonna do is I'm going to make kind of like a closed area that's striped for the sake of just visual interests. And again, that could be something place she put, maybe put more figures, your shapes and stuff as well. That I often like to have some non-meaningful space for. Really depends on what I'm trying to convey. So I have basically how I want it. Now. I'm going to try to steadily is I can put some striping in there that's going to just be again, desk-based striping and I'll repeat that other places in here. So it's not the only place that happens. A little careful of smudging. Now can be at any angle you want. I'm going to do it perfectly. And doing it perfectly is challenging. Particularly if your mind go fast. Going too slow sometimes can be actually worse than going too fast. You can get a lumber shakiness. You sometimes can get more smoothness if you go fast. You'll see the space between them is never gonna be perfect. There are tools you can use to get it straighter and then Rulers, right? I kinda want it to have a little bit more of a handmade. Alright? And then what I'm going to do is because there's a couple of spots or didn't quite go all the way to the edge. I'm going to go ahead. So there we go. So let us add some interests without it being another shape to decipher. And I'm going to go ahead now and, and work on the area around this hand. This thing I want to do is we're edging here so that it's not all. And planning that it's going to be some black space, at least around it. Go ahead and start on that outline. And again, you always want to think in terms of variety, making things look neat and tidy and meaningful. Now if I have a little bit of an issue here and then I messed up this finger. A variety of ways you can deal with that kind of thing when you have a little bit of f, have a message. So I'm going to add some variety to that line. Then. This one is well, I guess it could look like it was just a fingernail or something. I had one. Just remember always an interior designer can make a mistake repeated. So that's very helpful on this kind of art as well. As softened edge like that. Tidy as I can get them and so forth. So I might just have interesting lines added in here to give this a little bit of shape. Still making it mostly kind of an open white look to it. Not perfect. The next thing I'm gonna do is I'm going to work on this space right here, kinda working this way. So I'm going to do like I did up here, where I'm going to create a section straight, vertically. A little bit. I'll come work on those mountains next. I think I'm gonna go ahead and finish doing this. So I'm going to go ahead in such a way that I don't smudge quite so much and make some vertical lines about the same as I did in this section above. But till then again, I'll just do a little bit around the edge. There were some spots reading quiz, its outer space or something. Okay, so let's work down on these mountains and we'll do that next. Or I can work upon this region up here. Not totally sure what I want to put here. I think that one thing I want to do some maybe able to look at here now is I want to do this kind of a seeing kind of setting off the cross. I do this from fairly often and I guess I think of it as a cross and crucifixion level. Set it off. And again, just think in terms of shapes that are symbolic and then refining them. Okay? So I actually think I will probably just mostly strike and most of that at this point. I guess I could do some angels or something that kinda wanna give this a little simpler than that. So I'm gonna go ahead and leave that and create a section. Now what I don't want to do is have this uneven line like that. Let's type of things again, don't look quite so nice. That's nice when you can have variety like that. And then I'm going to, I'm going to do some striping in that particular region, which will probably take me a little while. The rest of this is all mountain. And I'm going to finish off managing. I like it. And I don't want it to look like a straight line or anything even close to that. I like to vary that. Looks like this little fuzzy there. Fixed thickness started that and go ahead and write. So what I need to do now, go ahead and again, it looks like these mountains are kind of uniform lines here at a, what? The uniform line. And these mountains could be filled in a variety of ways. Filled in like solid doesn't necessarily get that finished off, I guess is the right word. I could just leave them white like this. And the off-white of the wood. It could do some kind of decorative mining in a minute, we'll do some minimal decorated lining, will show you that in just a second. And we pretty close to done with this piece. So I know this is a lot of time spent in Shanghai, do it because this particular type of artwork does take a little bit at a time. It'll give you some things to think about as you're creating your own. So what I'm gonna do here is I'm going to do some simple lines like I did kinda clothing and reflecting that kind of an idea. And as I do that, I'm going to think in terms of the lines of mountains so that it flows like these are my mountain ranges. And this one to K. So the last thing I'm gonna do, and again, I could put up, could've put worshippers down here. I think actually as I think about a now I probably would've liked that better. And there's an I have put angels anywhere. What I'm gonna do at this point is I'm going to fill in this section, Let's striping and then that will be it. Okay. So that's it. Now, let me just go through again the steps of doing this kind of a thing. Start off with some feeling or, or thing that I want. And here it started off with this Jesus loving the world. And I build off it with other images as I thought of an image or a particular component that I wanted to be in a certain spot. What I did is I looked at a variety of reference photos if I needed to get some ideas about how to do it, do it in roughly. And then I fine-tune the lines so that had variety and interests in the lines. And then wonder where I wanted to, I did patterning. I could go in here now and now that it's fairly done and adding some are black. For example, I can look at this and say, I feel like my black stripe. Whatever it is I wanna do, I can go in and revise it. So I hope that's helpful to you and I look forward to seeing what kind of things you produce.