How to Draw Superheroes - Male Proportions

1. Introduction to this class: Hello, everyone. Welcome to my class on how to draw superheroes male proportions. In this class, you're gonna learn how to draw the superhero male character from three different views front, side and back. I'm going to show you how to construct this character using a 8.5 heads tall model. And then from here, we're gonna learn about different rhythms of the body, different alignment techniques, things to watch out for and thinks to adjust when trying to create variation in your characters. This consume a bit primitive, but it's really a great exercise because it gives you a better understanding of the characters that you're trying to draw. And whenever you jump into sequential storytelling, actually recommend you start here, you want to be able to turn the character in your mind's eye and then drawing them in. All these dynamic poses will become easier later and also be create some other classes that will tie together with this one. So we're going to cover various character types from male to female muscle bound bro, a drawer been warrior type character. We really want to show some range and variation so that you can jump into dynamic seen creation with a lot more confidence and have a lot of variety in your character concepts. So I hope you enjoy this class. Thank you for watching. 2. Drawing the Male Superhero Proportions - Front View: Okay, So first we want to talk about proportions. So whenever drawing characters, proportions are probably where you should start, because if not, you're just kind of, you know, drawing on a blank white campus. Whatever you get, you get sometimes that can be fun. But when you're trying to get consistency in your work, proportions are pretty much the most important aspect of that Eso. What I like to do is just start with some sort of head shape. It doesn't have to be entirely accurate, and then we'll just go ahead and start with an eight heads tall model. Now, when doing traditional figure drawing, you're probably gonna be more in the realm of 7.5 head stall. You know, this has been widely debated throughout the years. A different artists will say different things. The main thing I think that's important to know is that you're never going to get just an exact anything when it comes to the body. So there's just too many variables to many variations, but this is a great starting point to at least I like to do it and 1/2. If you can see there, that's 1/2 ahead. So it's kind of weird totem pole thing that I do. But it's ah, it seems to work out pretty well because now I've got an initial starting point to guide me as I draw over this. So again, I'll start with the head, you know, with comics and imaginative drawing. Gotta figure you're gonna take this all over the place. Sometimes you're gonna draw characters that there's little was five heads tall. Andi, we're gonna do examples of each but on. Then you're gonna do some where the character just It's almost hard to count because there had so little to the size of their body. But the thing is, if you have, like, this average person that you start with or whatever you consider average for comics obviously, um then you Congar Oh, from there you can just elaborate. We'll talk about that. So basically two heads down is generally going to give you the nipples. The height of the nipples three heads down is generally going to give you the naval four heads down is generally going to give you the lower part of the pelvis. Now what I like to do and I've already kind of compensated by adding extra had lengthier eyes that I like to make the If this was a heads tall model, the lower pelvis would be right Where the fourth had down is around about By adding this extra half ahead I've already compensated and giving more room for the legs which I like to do cause I like to have my characters um look a bit more elongated. More Ah, more more legs than the upper body mass kind of thing Eso Now, um, if we work outward another thing to think about What? This is that that the body is generally right around three heads wide. So something like that. But again I go past even this. So what I'll do is I'll get in these Ah, collarbones or clavicles a little bit of a V shape there. I'll draw in some circles and actually want to fight the urge. I want to get the links. And first, Okay, I'm gonna draw a line down the middle. I'm gonna just put these tiny little circles for shoulders with driver's gonna add a lot more mass to that, and we're gonna get a V shape in for the the upper torso abdomen area. Keep the pelvis relatively small for a superhero form and bring down a line even with a little bit of a curve. Remember that the three heads down gives us the naval. That's also right. Approximate where the elbows will go. We'll bring that down and have them meet there. Uh, forms of come down like this and probably a touch higher. The elbows of private touch. Hire some kind of adjusting. This is I go because I'm already thinking about what I want to character to look like proportionately as well. Some. I'm gonna move things around generally the the wrist If you were to stand there and put your aunt's their side there about a little bit higher than midway to the thigh area and you just kind of attach of Blackie shape for a hand or fist. Get into that and then when the legs come down like two dramas a curve, even as a kind of ah, standing at attention here and I like to make the lower cafs longer so you'll see some people will kind of just make him even, you know, so they'll make the form lower form in the upper arm, the same distance. I like to meet the forms just a little bit longer, mainly because the anatomy as we get into that it slant upward like this. So you get more the height of the forum on the side. Here. It's more of an angle thing than anything. Well, we'll address that as we go, but and then as I bring the feet down, I'm gonna come outward and then out again for the toes. So just real simplistic, kind of skeletal structure just to get the ball rolling and get some of the you know, the lengths in place so that now we can attach things over top. So now a lot of people want to jump right into anatomy from here, and that's fine. Based on your level of comfort, I guess I find myself doing at times. But if you're not quite there yet, just use primitive shape, so use circles for the shoulders, and later these will be, ah, different shape entirely. But we'll just say circles for now, cylinders for the upper arm. Now I do recommend keeping these a bit thinner, so I'll see people draw these in and the these, these pretty massive cylinders. I kind of recommend not doing that, especially starting out. You don't want to overly affect the way that you're going to structure the anatomy over top . So what I'm trying to do with the cylinders at this stage is just get like a lineman, placement things like that and just add a little bit more form and mass to the illustration . Now, as they continue to draw through this and I and I put the anatomy overtop, then I'll get a lot more creative and expressive and at a lot more information. But I try to keep this very light and not to Ah, not too large with shapes at this point seems to work better for me anyways. You can ah work differently in that regard. So I have to make a judgment call there and then for the chest. Just do this like, you know, kind of blocky shape or whatever. I keep everything very angular in the beginning, because angles for me anyways help me to spot, um, inconsistencies and help me to spot symmetry issues and things like that. I still struggle a symmetry even by using angles, but I find that I can correct. More symmetrical issues are asymmetrical issues with using angles. So that's what you see me doing here. So again, just a basic primitive work up to what we're doing, keeping the shapes very loose to interpretation. I mean, there, there better than just throwing in the anatomy. But they're still pretty. Ah, pretty rough there. Not they're not body parts yet. And just like that, we've got our primitive guys standing there, and now we can take the blue line away for the head start and 1/2 heads Dollar should say, and we kind of look at the proportions in the scale there, and we could make adjustments. I do recommend trying to experiment at this stage and make his many adjustments as possible so that you can really test the variations on what you're gonna get now, as we go through this, these series of lessons, we're gonna do different character types in different proportions anyways. But like I said, now would be a good time. If you want to see what you care to look like with longer legs, here's where you kind of adjusted, because when you start adding in all that anatomy and all that rendering. It's kind of your past that point. So you want to make adjustments to the scaling proportions early on as much as possible. S little complete this lesson. And the next lesson we're gonna detail this work when we're going to start adding some anatomy and talk a little bit about That s so let's move forward. 3. Applying Anatomy to the Front View: Okay, so now we've got her character ready to go. I want to do is actually take and make a copy of this. Oh, it's going to bring him over this way. I like to work off comparison as much as possible. So we'll keep some that based information off to the side, and I will blue on this and then add a layer over top. It's obviously just if you're working traditionally soft to race at this stage and surge over top. But the neat thing is, once you've got your core, you know, foundation in place, it becomes a little bit easier to just draw over this and be a bit more creative. And again think about the anatomy. So I'm not gonna get too much into anatomy and each particular lesson because it's ah so vast in and of itself. But the one I'll give you tips as I go is I start to illustrate this with anatomy. I think it's very helpful to study each portion of the body that you're struggling with. So, for instance, shoulders can be tricky for May, some always on a mission to study the way the shoulder muscles come in and how you know one side's up higher here. The side comes lower there and so on and so forth, and that happens all over the body. So I think that's probably the most important thing to really start paying attention to is that there's these angles and things. So Francis, like I mentioned before, going up like this, the shoulder just or I'm sorry. The forearm muscle just appears to be larger. The way it comes up here, and that tapers downward connects back here. So there's all these relationships you have to look for in the body when it pertains to, ah, the way muscles go. But the main thing I think that makes anatomy either look correct or close to correct or whatever again we're talking comics here is that things flow in and around other things, like all the muscles are obviously connected, but they flow in front of and behind its. You want to think of it like rope drawing. So lying goes around and up and back, and you can use angles. But you want, oh, immediately think about the next one flowing around it in front of it. You know the relationship they have with one another. It's better than if you were to sit there and start drawn and you go, Well, this goes to hear this meets here. There's a line there. You can do it this way. It's just gonna look more stylized, but it's not gonna have a flow to it. So if you think like ropes and fluid lines, you generally are going to get a little bit more of the way the anatomy feels and it just kind of again. It raps and flows around. You also want to try to fight the urge to draw every muscle in, you know entirely, like tracing every muscle. You want to kind of fight that urge. So we use a lot of line breaks and again paying attention to the fact that, like even lake here, the outside of the leg is generally more elongated. You know there's a curve, but it's more stretched out, and the inside leg is gonna be more abruptly angled out or curved out. But it's it's gonna be noticeably different, so pay attention to the differences from the inside to the outside. In fact, it probably get this upper leg tilted a little too much. I'm gonna bring that Mosul right here and word more so again, I can make adjustments as I go. Uh, the knees. I'm just gonna draw these shapes for now. But hopefully you see that since that fundamental informations in place a lot more effortless to sit here and draw all this, You know, all this anatomy, and, um and I still want to play around proportions at the state. So, like as I'm drawing this, want to think about Well, what if I gave them larger shoulders? What if I made this upper lake really shoot out a bit more like that? You know, I'm still adjusting things that go and trying to get the most out of my character development, But I kind of have a set of, ah, ideas that I had here, too, since I've done this so many times now, and I just kind of go for that. But but I'm constantly adjusting things. Experimentation is, you know, the key to invention within your work. So you really want Teoh? Um, play around with these concepts as much as possible? Um has a lot to be said for getting really good at away that you know the way that you found that works and just kind of sticking with it and refining it. But then there's also, in my opinion, a lot to be said for breaking it up and trying new things and really pushing past any barriers that you have any any mental ruts, as I like to calm. So yes, so you know now I'm kind of just looking over at the other leg and repeating what I've done and trying to think about the shapes that I want to see and that I think look accurate, Peter. Always tricky. Zai usually re sketch these a couple times just to get him right and noticed, too, that the ah that I did point the toes outward a little bit. The knees outward a little bit probably could have taken that even a little bit further, but you just want to fight. The urge to make them completely straight to camera are straight to the viewer. You noticed, too, that I'm boxing in shapes first and then cutting into him. So I almost think of it a little bit. Like I'm sculpting when I do. Stuff like this just seems to be a little bit more easier process if I do it that way again . Just paying attention out of the side with shoulders. If you notice they're very much not rounded now and then again, it dips down and connects lower here and hire here. So just paying attention to a little relationships like that Tricep comes out, connects down in that forum. I like to draw larger. So if you noticed, this is probably a bit longer in reality toe what you would see, you know, the arms in general are longer and reality to what you would see. But again, I'm going for a little bit more dynamic field to the character. So I'm okay with adjusting That was making those incorrect assessments, I guess so, you know, knowing that it's not really right but being okay with it because I just like the look of it and and that comes of practice because at first I think that we first try to just get things to look correct. But then, as we're doing imaginative drawing, we really want to make something that's kind of our own, and we start to play around with different things, like now, looking at this kind of almost completed or whatever at least enough to where I can see into it a bit further. Definitely a lot, Um, a lot more definition than what I could see to the other sketch. Now I feel like the legs could be a bit thicker, wider, you know, maybe even widen out Thea hips. I don't like toe have overly thin hips and my characters, and I think it went a bit thin there. But that's just again kind of the process of creating the work than analyzing it and then going back and making adjustments on if you staged the work like this, I think that it becomes a lot easier to do. You're not spending huge amounts of time rendering every piece of artwork before you start to envision your changes and get in there, make changes. If you If you do it in ah, away like this, you can kind of maximize your efforts, and I get to ridiculous with your ah time spent on trying to figure out what your character's need to look like. So there we go. That's Ah, that's a little bit more anatomy. So now what? We're gonna dio We're not gonna fully rendering twenties because I want to show you some real variation in the character concepts. And again, I feel like the legs need to be adjusted. So I'm just making mental notes here. But maybe I'll ever find this as it would go a little bit. But then now we're gonna do is we're gonna do a side view of the same character, and then we'll approach a back view as well so that we can. You got a nice turnaround of the character. And we'll do that with a few different character types so that hopefully that gives you a nice firm understanding of how to create variation within your character concepts. Eso With that, let's move on to the next lesson. 4. Drawing the Side View: So now we're gonna draw side view of this character, and we've obviously got everything here Ready to go is faras reference points. So let's start to draw the head from a side profile. I won't have the chest coming out at a pretty good angle. Pretty steep. So, really, what I'm gonna do is avoid drawing the arms at first. So just get in the, uh, book shapes here. I'm not gonna worry about the links, because again, we've got all that right here next to us. But, General, if you don't have anything in place, you're gonna draw your links first just to get the general proportions in place like that. But we're going right to form here again, the lower pelvis, about forehead down. And we're gonna do variations of that as well, because again, each time we do this on, we create different characters. We're going to really try to change it up a bit. It was a nice curve on the front of the late here. Cafs had been, though another relationship that you can look for is this reverse. So there's a bend here on a bend here, and it's traitor here, straighter. There so again, always look for little bits of flow and things that you can memorize about the body. How to make your life a lot easier when tryingto construct this from the mind. Probably want to give a little bit more, uh, size to the top body by comparison. So it looks like the same character because what we have here is this character looks like , you know, they've got more powerful legs in this one, which, in retrospect, looking at the first design, I do want to beef up those legs, and I actually need to add more space to the upper leg. I made it a little bit too tall in the lower legs, which I purposely do that, but I took it too far, so these legs need to come out further. You see it? This one with thicker legs actually looks a little bit more powerful because of that. So it's kind of neat how these proportions can really a just ah, you know, the look of strength of the character you can convey. You know what, they're what they're up. I mean, attributes are based on that. If they've got very powerful legs and powerful arms muscular, you know, then they're probably a strength based character, obviously. And if they're skinny, maybe their speed based character, things like that and then for the shoulders again, we can use any alignment we need from the other, drawing the shoulder shape in place point Pam. And then we've got a rough scale in proportions in place of the side view. So now what I can do is get rid of that initial Ah, totem pole of heads and clean this up just a little bit. So go ahead and softer race, and actually, I'll just go and blue line this because typically, what I would have done if I was drawing it fresh without anything on the page who do a lot more of these. Ah, these lines to kind of helped paint the picture. Damn. Then I'd probably convert this to a blue line and drove over top one more time just to refine it a little bit. So again. Now I'm thinking a little bit more what the anatomy looks like, and I like to keep these a little bit loose just so that again, I think I mentioned it. We're not spending an absorbing amount of time creating these types of studies. I think it's really important to be aware that because if not, it's very easy to get lost in the process and then not get out the the proper amount of drawings that takes to really improve. So you want to make quick, uh, analysis of your work and then move on to the next thing. Unless, of course, it has finished artwork. But in this case, it's more studying, just paying attention, the little things here and there again, I'll get some of the anatomy, and but it's not gonna be fully rendered. You hear something like that. Okay, so now we have a profile of that character, and again, I'm really fighting. There's even go back and revamp it and change some things. It's pretty close, but the 1st 1 again, by looking at it after the fact, I can really look at it and go OK, I need to really change those legs. Those legs were just looking a bit too straight up and down. I I feel like the legs themselves need more of a presence like this, where you get a bit more of that bowl to the muscle. So I was like this Often do this often draw to the side just to kind of visualize a bit better than come back at the original drawing. And you get that it comes in like that. So something a bit more like that I think, will look more impressive. And obviously, this is more of an outward angle, but mainly the the difference in But with from the upper leg, that upper leg has to have some more strength to. It shouldn't be so evenly straight up and down. So eso that's about it for this lesson for the profile. Now what we're gonna do is we're gonna draw this character one more time from the back. And then I think what I'm gonna do is finish up by going back to the first sketch, showing you how we could make adjustments to that. Ah, and ultimately, you know, convey a different feeling and a different narrative to the character s. So with that, let's move on to the next lesson. 5. Making Adjustments: you know, what I want to do is make some adjustments to the first gets, so we're going to draw the back view next. But I'm gonna deviate a little bit and I want to just this initial sketch first s O that when we go to do the back view, it's a little more accurate. Like, you know, what I want you to be aware of is that when you're drawing comics, when you drawn imaginative drawing, there's gonna be so much variation. There's so much that can be depicted by style and just choices that you make up your own character concepts and really get away from any idea of right wrong that just doesn't exist in this room. You do base it off The idea of correctness, which again is about 7/2 Ted's tall, you know, the arms would be shorter to a regular Joe average Joe. Whatever. The proportions would just be pretty different from what we have here. But even in the idea of comic book illustration, I feel like the character just needs to be a little bit different proportion. So I'm gonna try first. Just a distortion with wise first see how that looks so you see that obviously with same heads tall model, you get a very different look by just wide ing out character. Ah, and actually that looks a bit better. I think I do want to see what it looks like with the little bit shorter arms. I'm just gonna grab these terms, you know, in any sort of realism would be shorter, but again, realism doesn't really apply here, so I couldn't bring those up a little more. Something about their You see it. It starts to change the character quite a bit just by making these small changes, and they don't have to be very large changes. I really want you to think about that as well. Small, incremental changes can be highly effective when you're trying to figure out your art style . And what type of care does you're trying to create? Eso Often times I'll just make slight adjustments and just mapped the difference. Now, if you're not good at ah, maybe watching it evolve this way, just make a copy of the work, said it to the side, make your adjustments, analyze it, and then repeat the process. You see, I think that's a bit better. The legs still feel a bit awkward, like one of things I think I want to see is just the larger upper upper thigh areas. By comparison, some races back a little bit. Try to bring that out a bit more, giving this kind of, ah, really strong upper legs. I think that's a bit better in the starting point. OK, so let's do this as well. Since we're here, let's go ahead and take this. I just wanna again show you about Ah, as much as it pertains to adjustments. So one of things that you can do as well as you could take the character and you can leave all the scale the same, and you can adjust. Adjust the head size. It's kind of funny at first. You know, you look at it, it's like, Well, his head's really tiny, but, uh, trust me, you want to play around this a lot, because what happens is you get these very different looking characters. You can immediately make one character appear really tall, really large, just by making the head smaller by comparison to the rest of the body on dares other adjustments as well Generally you're going to elongate Thea Thea arms and likes. But there you, you know, again, there's just so many different things you could do. It's hard to say what you're going to do this, and you're going to do that. Um, you just can experiment and you're gonna find out what works well for each character. But we're going to try different things as it pertains to the muscle bound brutes. The short, stocky, kind of dwarfish warrior. You know, all these different character types. I'm gonna draw through a few of those with you so that you have a nice broad array of, ah, of what to accomplish with these. You know how to convey these different narratives within the character structure and things like that. So So, yes. So just like that, Now what we're gonna do in the next lessons, we're gonna take this and we're gonna make one more copy, and we're gonna do the reverse of this. So one neat way to kind of do this eyes erase all the detail from the inside because obviously, if we turn around our silhouette still the same, some minor changes. But all this based informations already there so we can do this little bit of a cheat and get the got a race of feet. Obviously, because you're gonna get the heels on this side. You're obviously not going to see the chin on the side. You're going to see the back of the head. So just a fun little way to quickly. Ah, flip the character around. Stop it right there. Let's move on to the next lesson and we will draw the back detail. 6. Drawing the Back View: Okay, so now we'll draw in the details of the back of the character at a line down the middle Thistles. Actually, uh, the muscles kind of do this anyways, but I'll do this when I'm trying to get a cemetery a little bit more Correct. So by adding horizontal vertical lines, you can generally get better symmetry on your characters. So the trapezius comes down a little bit. You get this little bit of a separation right here, kind of a diamond shape, and then the other portion of these muscles here on the back come down to a V. Likewise, the scapular shoulder blades come down into a V and the lat small, kind of from this angle on keeping in some consistency from the previous polls. They're going to come in front of the arms there and for the back of ah triceps. You can use a little bit of ah horseshoe like shape and the triceps actually have three muscles. But you very rarely will see this 3rd 1 Most of characters just really ultra cut to find the shoulders, come over this way and connect and the lower back muscles when you could see him are pretty thin right about there, and we'll bring the legs in front of the hands from this perspective. So gonna raise those hands back. And for the glutes, I'll generally draw them as kind of a boxy shaped first, just kind of curve the sides. So again, overly. Ah, stylized, basically. And for the back of the legs, I generally won't detail this very much. The muscles kind of do this little deal here, but we're not going to get in tow, obviously not going to draw them that separated or segmented. But one of the things you can also kind of envision a bit of a diamond shape on the back as well. But I won't really draw the sin because obviously it starts to look like kneecaps, right? So what's happening is this is actually the indentation on this part, so I'll put it in there as I start to draw out. But then I'll just do a little bit of separation on the back of the legs and nothing too major, because again, it's very rare that you're going to see a lot of separation, even on a superhero character. Gonna get some, obviously, but nothing too crazy and then for the calf muscles. I think the most important thing to know are the angles. So you get this kind of angling to the muscles here, so ones lower the shapes are about the same, but once lower ones higher. You want to pay attention to that. And another thing that's kind of neat about the legs. We'll, you know we'll talk about this Maura's. We illustrate other characters, but you can kind of envision that. It's pretty straight on the inside of the leg and pretty curved on the outside of the leg. See that? And there's another one that, Ah, I can't more where I picked this up at, but it's it's kind of me as well some other artists I must have learned it from, but it curves out there, around around here and around here. So there's this back and forth going on, so you want to pay attention and things like that and again, the angle that you get where one muscle is higher. I think we talked about that in the Ford facing shot, so just paying attention to a little bits of ah rhythms in the body like that can go a long ways and the muscles back here that kind of split and go across. But we're not going overly illustrate that either. We're just gonna put a little bit of that in there. And I think what's helpful to is when in doubt, make sure not to trace the muscle groups. So if you really aren't overly confident with the muscle groups and where they're actually going, just kind of hint to him. There's lots of styles where that's prevalent. You don't have to pretend like, you know and you know you can make something up. But if it doesn't come across confidently than just leave it out, you know mitt it and go for maybe a strong silhouette. But no, I would say just air on the side of Ah, less is more if you don't know it yet and don't beat yourself up. If you don't know because believe me, there's lots of pretty popular artists that ah obviously don't study anatomy. It's not going to name names and I'm not the greatest added. I've got a lot of long ways to go as well, but But yeah, there's definitely a lot of artists out there that just maybe they don't care. Maybe they just like Thea overly stylized representation. And some have become quite famous for that. So it's it's definitely Ah, it's definitely doable. Okay, so good. And clean this up a bit and speed it up just a little. So you're probably wondering, you know, why take the time to sit here and draw a character from all the different angles like this are Maybe you're wondering. I kind of fought it for a long time. I didn't do these enough in the beginning, and I wish I would have. So when I'm part that upon you, because what happens is it's very essential, I think, to build confidence, withdrawing your character of choice for your sequential storytelling. You want to just get this right out of the way, drawn from all these different angles, and then pin it to the wall next year, our station and you'll be glad that you did. It will make the other dynamics a Quintal storytelling shots a lot easier to accomplish. Also, you got to think, if you can do that with the character like this human body is gonna be one of the most complex things, if not the most complex thing that you're ever going to drop. So if you get used to turning this in your mind's eye and imagine in different perspectives like this, everything else becomes easier by comparison. So drawing scenery or tables or lamps or whatever become pretty easy because you've already tackled the most complex thing in that's human body. So don't shy away from this. This is, Ah, good exercise and good food for thought. Eso I try to do this with any characters that I'm going to put into my comic pages, especially ones that I feel like I might struggle with MAWR. This becomes even more important to do so now just, you know, clean us up, adding some line weight in not trying to straighten out any imperfections that I have in the shapes. Notice that I'm using a lot of little line breaks. We're gonna talk about things like that when we get to the rendering stages of the work. But line breaks are also important. It's kind of like what I mentioned about not over illustrating something that you're not completely aware of what it looks like. Line breaks also kind of helping that idea your again. You're not tracing every shape that you see there. You're just kind of ah, hinting to some shapes and general will give you a better feel to the style. Plus, there's a lot of areas in the work where you actually want to hint towards the detail, especially as it pertains the shapes of shadows. And again we'll get more into that as we do rendering. But it kind of gives the confidence to the work. So you'll see a lot of artists actually do a lot of line breaks and a lot of hinting towards the information versus tracing the information. So now we're gonna do is move onto the next series of lessons where we do a few different character types. So we're gonna draw female. We're going to draw Ah, muscle balm, brute. Maybe a very short kind of drawer Vin style character, just just enoughto where we have some good range. So this one is basically, you know, the Eater nine heads tall, Model X. Even after shrink in the head, it made the character look a bit larger by scale. By proportion on, we're gonna do some distorted proportions waltz. We're gonna talk about really characterizing the characters to see what you can bring out what you can say about the character, so it should be fun and informative. I hope you'll join me for the next lessons and let's continue on.