How to Easily Draw a Portrait | Understanding Features & Proportions Part VII

1. Introduction : Hey guys, welcome back to another one. My name is Braden and I'm an artist. So this is number seven of seven series set where I'm taking you through and I'm showing you how you can use a reference photo and incorporate the luminous method and draw yourself a portrait that is realistic, one that fits into the proper proportions that we see in the reference photo. And that is easy and fun and something that you can sketch out whenever you will. In this one, I'm going to be taking you through and I'm going to be showing you how you can use that reference photo. And you can use a compass and draw a simple circle from there using a sketch pencil and punching in your side plane, your vertical and horizontal axis, which allows you to draw your hairline, your brow line, the bottom of your nose. Once you have those three lines drawn in, you can then easily place your center line, which will help you identify the bottom of your chin. You can connect your chin to your vertical axis. Once you have the framework of the Loomis head in place from there, it's just a simple matter of hatching and crosshatching, which of course I will show you that we will be explaining it, talking about it. I'm going to show you how you can create the illusion of that underlying form. That third dimension, which is the trick when it comes to drawing anything halfway realistic. We're going to be going slower. We're going to be taking our time. I want you to really focus on your technique. I want you to truly think about how you stack your values, how you hatch, crosshatch, or how you don't, right? And I want you to think about your line work. We're really talking about all of these things. I hope at the end of this class, you upload a project and you leave a review and let us know what you enjoyed about it. I always like to give feedback and just check out what you guys make from our classes. For me, that really kind of just brings it all together. And especially with this being the last class and this whole series, I would love to see how far you guys have come with your technique. If you still have questions after you've completed the series, then I highly encourage you search semester creations on YouTube because I have a plethora of classes on YouTube, everything from how to draw noses and eyes and Loomis heads, to how to draw a bald eagles and Marlin's and whales and everything else in between. That is what to expect and hope to see you in class. 2. Step (1) Drawing out your Loomis Head: Okay, so we're going to grab our compass, are going to set it to a two. And we're going to place the compass right, smack dab in the middle of the paper here. Then very lightly. I'm just going to place our circle. Okay? Now, first things first. When we look at our reference photo, we want to consider the angle of the eyes, which is something about like this. So once we understand that we can place our oval here, which of course is our side plane, side of the head. I'm going to draw our vertical axis. And then we're going to place our horizontal axis. Or horizontal axis, should always line up with the angle of your eyes. Okay? And then right here I like to put a little temple plane, right? That helps elongate the circle. There were to pull over our hair line, brow line, and then the bottom of our nose. And then once we have those placed, we're going to identify our center line, which given the nature of our reference, goes somewhere right about here. Pull this down. And then we're going to identify the bottom of our chin, which is right about here. Then I like to pull down from here, the beginning of the jaw. And then we connect that to the bottom of the chin. Don't overthink this stuff. Guys were going for a very general shape here. Very general shape, very light pressure control. Nothing about the luma set is finite. It's meant to be a guide, much like a blueprint when it comes to constructing a building, right? Same type of thing. Then here we're just going to draw out our robe. And then we have our pin here for the subjects toga. Something like that. We don't want to get too carried away with the details of the robes and shoulders because this is a portrait drawing, right? Okay. Once we have those, what I like to do is if you look, the reference photo of the neck actually goes all the way back to the back of the head so we can pull our line down. Then, using our reference point from the shoulder on the left, we can place our shoulder on the right. Then we have just some very basic muscle groups. Then from here, pull down our cheek plate. And we have effectively identified our hairline, our brow line at the bottom of our nose, and then the bottom shin, splitting the face into equal thirds. So now let's move on to listen to. 3. Step (2) Drawing your Nose and placing your Eye: Okay, so now that we have or a luminous had established, here comes our first test. We are placing our futures. Now the way that I like to do it is I like to draw out my nose first. Once my nose is drawn in, then I can build my eyes off of the nose. I find that this tends to help with questions, right? But what we're gonna do is we're going to pull the nose down. We're going to place our nostril right here. Notice how the nose is placed right over the top of our nose line, right? This is the reason why it's here. So once we have the nose built-in like this, then what we can do is we can start to hatch and crosshatch where need be to lower our values and bring out the shadows of the nose so that we can start to bring out that third dimension, right? That illusion of that form. On this piece of paper. We're using a very, very light pressure control here. We do not need to push hard at all. The only time that we will push hard in any of these drawings when we're sketching like this, is to bring out a certain thickness of quality to align. Or if we want to strengthen a specific line weight. Now, remember back to some of the previous classes in this course. Think back to line definition. Line quality is the relative thinness or thickness of a line. And so when you vary, aligns quality, like say from the beginning of a line to the end of it, you can start to bring out the illusion of 3D form. Now, line weight is similar, but it's not exactly the same thing. Line weight is the strength of a line or how light or dark it appears on paper. So there tends to be this correlation, right, between lightweight and quality. The thicker equality. Most of the time, not all the time. That thicker equality. The darker that line way. Okay, so just keep that in mind. Most of these are going to be implied lines, right? Hatching and crosshatching using Sketch pencils. Implied lines are when you continue a line after a small break, or say e.g. it's pretty much the contrast that you see between a high, mid, and low value. Now this line that I just placed right here, this is a perfect example of a thick line quality of a defined line. The opposite of an implied line is a defined line. Now, define lines are used when you continue a line without any break, just like I did for the top of the eyeball right here. Okay. Just like this right here, that's a defined line. What I'm trying to do is I'm trying to showcase how I is sitting inside the eye cavity of the skull, right? Then notice this here, see how we're not using every part of the Loomis head. It's almost like we're bringing out the face from the luma said right here's the cheek. And we can run this line all the way down to the chin. Just because our original Loomis headline is outside of that. That doesn't mean that we're sequestered to the original line. And that's one of the reasons why I said don't worry about getting anything perfect when you are drawing out your luminous head. The first lesson, because it's meant to be just a simple guide. It's not absolute and not by any means. And then we can pull up just like this. Nice and light. Don't press too hard or you'll end up scratching the paper. One of the biggest things to keep in mind when it comes to sketching in features on alumnus head, such as this is the direction that you're pulling your pencil across the paper, right? Because that will affect what that underlying form looks like. A face, much like anything that you'll draw, very much has a flow to it. Whether it's smooth or rough, it makes no difference because the muscles underneath the skin of any subject will have certain rules to them, right? They will be placed in certain areas. They'll tie into each other in certain ways. And so it's very important that when you are referring to your reference photo, that you keep that in the back of your mind with each and every. Pull and push your pencil onto paper. And notice here, notice how I'm going back in. I'm just hatching right over what I had already hatched, right. You can cross hatch if you will, or you can continue to pull your hatching in the same direction as you did before. It's really up to you. Both techniques will lower your value and bring out contrast in your drawing. Then right here I'm just going to put a defined line. I'm gonna kinda bring out that knows a little more than here. I just want to lower this value. And this is one of the reasons why it's so important that you use a very light pressure control. So you can continue to go back over spots again and again and again. And you can lower that value if you go into hot and heavy, a lot of times, you might lower the value too much in a specific area, or you might risk scratching the paper and that's no good. So always remember, nice and light. Because you can always go back over certain areas and lower values and bring out underlying form. And this is one of the reasons why with the last class in this course, I wanted to slow down, right? I wanted to go slower and kind of show you and talk through a lot of this. Because in some of the classes leading up into this point, I flew through a lot of the hatching, crosshatching steps for building up underlying form. Well, let's move on to less than three. And I'll show you how to place that mouth. 4. Step (3) Drawing your Mouth & Chin : Okay. So when it comes to using the Loomis head to dry portrait, you can take this third section and you go about a third of the way down and you mark it. And that signifies roughly the top lip, right? Then you go down another third of the way and you mark it again, and that signifies your bottom lip. Now you don't have to split your third section into thirds if you do not want to. It's simply meant to be a guide for you, a blueprint, like I mentioned in lesson one. But the cool thing is, is if you do decide to use it, this is kinda how you use it. You can start in the center of both of those marks and that give or take. It's the center of your top lip and your bottom lip. Now, be careful when it comes to this part of the drawing because if you look at the reference photo, every single bit of form in this part of the drawing is very much implied. And if you do put a defined line on the bottom of the top lip, like what I just did, makes sure that you use a light pressure control. Because you can always go back over it and thinking it up, right? Increase that lines quality if you will. And then from there, once you have that line placed, then you can go in and you can start to pull up from that line. And that will give you that form that you're looking for. You can also go into here and we can start to darken up or lower values immediately under that knows that we can kind of pull it down like this. Then just like this right from the line. Just lift up. Nice and lightly. Just lift up. Notice how the light is casting across the face. This lower lip, we will be placing a lower value underneath the lip because the nature of the shape of that lower lip is getting a lot of light on it. So we don't need to actually take our pencil and draw. We more or less need to highlight the lip. This fella here he's got kind of a bold type chin. So we're gonna make sure that we speak to that because that lip very much kind of ties into that shin, right? Just like this. Kind of pull this up and over. And this is one of the fascinating things about optics, is that when your viewer looks at your drawing, and this is true for even you as the artist when you're drawing something, you're eye wants to see the form. That's one of the reasons why when you draw something, especially like this, where you go nice and light and then you can continue to build up lower values. That form jumps out at you. Alright, let's move on to lesson four. 5. Step (4) Drawing your Eye & Underlying Form: Okay, so now what I'm going to show you in this one is I'm going to show you how to place that other eye, right? We're going to use a reference point right here about the corner of the mouth. And this is true for most faces. The corner of the mouth you go up and then right about there, you mark the corner of the eye, right? And then what we're gonna do is we're going to build this second eye off of this reference point. Okay? We're just going to pull up, bring it over. Just like that. Okay? This is arguably one of the hardest parts of drawing a portrait, even sketching one out. Like what we're doing is how exactly do you place that second eye? This is one of the reasons why online when you see a lot of AI drawing tutorials, many artists only draw one because they don't understand or don't want to try to draw both eyes in tandem with one another. Then what we're gonna do is we're going to pull this over like this, nice and light. Because again, remember we can always go over these lines and we can thicken them up. We can increase that line quality and we can darken up that line way. I very much just kinda wanna place this eye here. And then what we can do is we can start to hatch and cross hatch and we can start to build up underlying form in and around the eye. Just start to give it that form because right now it's just kinda floating in space. Which is fine for right now, but alright, and so what I did there was I just thickened up that quality. I'm going to bring this down right here, x we very much, this is the beginning of the eye socket, right? The cavity that the eye resides. And I'm just going to pull this down. Remember that underlying form, right? You look at the reference photo, notice how it's flowing. Even in low value areas where there's not a lot of light, the direction that you pull is still very crucial to getting right. Here. We just want to darken up the side of the eye here. You don't want to darken up the whole thing, just, just the sides, right? Because by darkening up the side of the eye and we have effectively given that eyeball a little bit of form, right? It looks round now. Whereas before it didn't. Then right here, it's kinda wanna pull this, this way. Everything that we're gonna do in this drawing is going to be a nice light pressure control. This is where we start to get brave and this is where we really start to sketch out that form, right? Okay. So that's pretty good. For now. We're just going to pull up like this. Start to bring out the beginnings of that forehead. Sunlight forehead goes straight up. So we're going to sketch it as such. Remember if there's anywhere where you need to lower that value, we just go over it again and again and again. No need to increase your pressure. Let's go over it. Pull down and over. Cross. Go light right here, super, super light. And you guys are doing this. I want you to barely see the streaks that your pencils leaf on the paper. Okay. Then, right, Harish, right, right from the lines pull up. We're going to want this line here, bottom of that jaw where it ties into the neck or it wants us to be implied. Okay, so it's gonna be a contrast of values, right? That's the way that I like to think about implied lines. Is there a contrast in values? Where to find line is literally you just press hard and pull it or push it and there's a line right there, right? And I've mentioned this before. But Leonardo da Vinci used a technique in his paintings where he never used to find lines. What he would do is he would take his thumb and he would dab it into the paint. And he would just press the Canvas. Press the canvas. He would do that over and over and over again so that he could get a nice blend to the edges of specific areas of his paintings. I think withdrawing, it's a little different depending on the aesthetic that you're going for. But especially when it comes to the monochromatic scale, say if such as black and white, charcoal, Let's say, defined lines are very, very important. There are artists that will draw portraits without any define lines. And that's fine. But I do think that if you play with lines the right way and there's a balance between define lines and implied lines, your line qualities and your line weights. I think it can really, you're drawing an edge and make it pop. Alright, let's move on to less than five. 6. Step (5) Drawing the Neck, Shoulder, Hair, & Ear: Okay, So we very much have a floating head right now. So what do you say? We give him a neck and the shoulder and we'll even start to give him some hair will give them an error in this one. So take your pencil just like this and you start to pull down. Alright, let's pull down. And then notice when we look at the reference photo, we do have the neck muscles here. We have a couple of different ones. And so you can start to play with the hatching and crosshatching technique, right, like right here, what I'm doing is I'm beginning to cross hatch. So I pulled from right to left. And now I'm going back over and I'm pulling from top to bottom. Now you don't have to completely cross hatch a specific area of your drawing. If you don't want to. If you just want to blend it, like maybe say your sketch and that's not what the colored pencil, but with graphite pencil or a charcoal pencil, then you can use smugglers or you can just use brushes if you will. But if you are using colored pencils like I am, then this is how I want you to practice hatching. Because effectively what we're trying to do is we're just trying to give this portrait a little bit of form as far as the subjects toga here on their right shoulder. And then of course, giving them their neck so that they're not a floating head. But the big thing with the toga here is wherever the fabric folds or it's okay to go in and place a defined line. Because from that define line, you can pull kinda like this. You can kinda tie it into each other. Because there's different layers to it, right? The light strikes that fabric in different ways so you can pull up like this, see this, hatch it straight up from the line. And then what that does is that it effectively blends that define line that you originally placed on the bottom. And then you just leave it alone on top if you want. And then that way you have a really nice blend from a lower value to a very high value on the top. And that showcases form. Alright, Well my pencil is getting a little short. So what I'm gonna do is I'm going to place it in my handle here. And now what we're gonna do is we're going to start with the beginnings of objects crown. And then what I'm gonna do is I'm going to draw out the hair as well. This is one of the reasons why I'm starting you guys on a course where all we're sketching out our statues. When it comes to statues, it's not so much about the detail that you can convey in your drawing. It's more about the form that you're able to convey. Form and proportion. Proportion is the single hardest thing to convey. And a drawing, especially a portrait. But if you can get your proportions down, then you can implement your features. And then once that is done, then you can start to worry about detail. But with these statues, obviously there's not a lot of detail. You're going to be spending the majority of your time once you have drawn out your proportions and your features shading, right? It's very much a value exercise. And say e.g. the hair in this specific reference photo, it is more form and proportion than it is details. If this was a photo of an actual person, there would be many, many more steps that we would have to go over to make sure that we were able to bring out all of the details in our subject. But here we can relax. We don't have to worry about that. We're just going to focus on the form. Now notice how I'm drawing this. When you're looking at your reference photo, anywhere where there is a low value, right? In that form of the hair with how it lays. That is where you should be placing your define line. Now, from right about here, the corner of our bottom right quadrant, we can draw out the outline. The basic two-dimensional shape of our ear. We're going to use our reference point from the bottom of the nose. We're going to pull that over. And that is going to be the bottom of our ear lobe. Okay. This is one of the reasons why that side plane with your vertical and horizontal indexes are so important. Here we are halfway through this drawing and we still have a blueprint, right? We still have that Loomis structure that helps us place our features in the proper proportion, right? The eyes to the mouth, the mouth to the nose, the nose to the ear, and so on. Now from here, what I'm doing is I'm looking at the reference photo. I'm just going in and I am shading any parts of the ear that have that lower value. I've mentioned this in other tutorials in other classes within this drawing course. That if you just focus on your low values, first, those mid and high values tend to take care of themselves. Because when you punch in your lower values, what you're doing inadvertently as you are bringing out the contrast of that value scale, alright, because the paper itself is already the highest value, it's complete white. Then what you're doing is you're going in and you are bringing in a lower value. Eventually a black. And black is the opposite contrast to white and vice versa. So let's move on to lesson six. 7. Step(6) Drawing the Head Gear, Layering, Linework, & 3D Form: Okay, What do you say? We get this headgear drawn out? These these leaves, these individual leaves drawn out. And this is how I want you to tackle this, okay? I want you to go one leaf at a time. Nice and light. Don't overthink it. Just really, really focus on the proportion of each leaf, the other leaf, the one that you just drew before. Okay? Pull this up. I'm going to up and over. And notice, notice how each one of these leaves has a thickness to it. Almost like a potato chip. It's got a unique thickness to it. So when we draw that first line, eventually that's going to help us draw in our second line and really give each leaf in this head gear the right amount of form. Like a little pin here, some place that right here. And then see just like that, there's the lipid that gives our leaf really nice thickness. Okay? Alright. There was really only three portraits in this series that had any kind of head dress at all. There was the reference with the flowers, and then there was a couple of others that head bands, but I wanted to do one that was a little bit more complex so that we could build our confidence around headgear. Most of the time when you draw a portrait, especially for like say, a commission. The subject in question probably won't have any kind of headgear whatsoever. But on the rare occasion that they do, you'll definitely have some experience in that regard. So within here we're just going to pull this over just like that. Nice and light. And then I'm going to show you how we can add detail to this headgear. And that'll really make the contrast come out in it. And I'll show you how you can add detail, even with sketching, with a simple colored pencil. But as it stands right now, we're just going one leaf at a time. Something like that. We have for a third pin. Right about like this. This head gear is also going to be a very, very nice test to kinda show you exactly where we want to place our lower values. And by placing our lower values of the way that I'm going to show you how. You'll see how we can showcase the illusion of those leaves laying on top of each other, right? And of course that'll bring out that, that third dimension that we want. But first things first is that we want to draw out the basic shape of the head gear in question. Just like this. Pull this down arrow here. Okay? So what we're gonna do is for texture, we're just going to hatch it just like this. We're going to pull one way. Just like that. And then what I wanna do is I want to thicken up. Some of these line quality is not all of them. Just the lines on the inside. Let's pull up like this. Hatch this with the leaves. I want you to play with it, right? I want you to mess around with your line weights. Because when you look at the whole reference photo next to the toga on the shoulder, the hair, and then the leaves and the head dress. The head dress itself is going to be where you have the most opportunity to mess around with those different line qualities, those line weights. You can play with implied lines and you can define some of your lines. All of the things. And I probably should've mentioned this earlier, but the lines that we just drew out before we started hatching and thicken it up the line quality is on this head dress or what by definition, they call contour lines. Contour lines are pretty much what they sound like. They are lines that show you where an object ends. By themselves. They will only convey an object's basic two-dimensional shape. But now what we're doing through adding detail work and then messing around with those different line qualities in line weights is we're starting to bring out the form of each one of these leaves. And now with the hair, we're able to do very much the same type of thing. This is one of the reasons right here why I'm a very big fan of sketching out statues. Because if you can walk away from a series or a study where you have drawn just statue after statue after statue. I guarantee you that even if you don't feel completely confident in yourself, at the end of it, you will have a much better understanding whether it'd be consciously or subconsciously of what it takes, what kind of technique it is that you want to use based off of your medium of choice, whether that's graphite, charcoal, colored pencil, what have you on how to convey the illusion of three-dimensional form? Because not only do you have to do it, what that underlying form of the muscle structures in the face, but you have to do it with the hair. You have to do it with the robes, with headgear, all of the things, right? But don't get overwhelmed by these leaves guys. It's the exact same thing. Take your pencil, hatch it, just pull it the full length of the leaf. And then refer to your reference photo. And just like I'm doing here, right here, I'm going through and I'm just looking at the reference photo and I'm lowering that value. Alright, i'm, I'm, I'm lowering that value anywhere that I need to. Typically, with the way the light is striking the reference photo, it's going to be where those leaves converge, right? The pockets of where they all kind of tie into, that's going to be where your lowest values are. Then here on this side, I'm just gonna go through and I'm gonna do the exact same thing that I was doing to the other ones. Albeit it's kinda hard on this side to see that same type of texture in the leaves. But principally they're the same. Just like this. Then here we're just going to continue to bring out the hair. But like I said, when you look at the reference photo, the way the hair kinda clumps together and that lays on the forehead. That is where you want to thicken up your line qualities. You don't want the line quality be the same throughout there. You want it to vary, right? Certain sides of their, we'll have a thicker quality while the other side has hardly inequality whatsoever. And that is that variation that you want. So let's move on to the final lesson. 8. Step (7) Final Thoughts & Details : Okay, final lesson. Now, for the most part, we've laid out everything that we would want to lay out as far as its proportion is concerned. So this is where the approach gets really subjective. There are lots of artists that like that soft look, right? And they liked that implied look, much like Da Vinci. But it's important to understand why defined lines exist and why implied lines exist. Much like anything in life. I believe there is a balance. You can have the best of both worlds. And I think that you are drawing will be better for it. At the end of the day, art in and of itself is meant to be subjective. You're never truly wrong unless there is a specific method that you are trying to replicate it because then all of a sudden you're prescribing to a specific approach. But in this case, what we're doing the way I teach is I very much like to let you know of everything. And I like to show you bits and pieces of things and show you how they could work together. And then of course, what you do from there depends entirely on you and what is satisfying to you. Because let's face it, when it comes to aesthetics, what is pleasing to my, I might not be pleasing to your eye, right? Even though they both might be beautiful in their own right. So what we're doing here is I'm just going through and I'm showing you how you can continue to hatch over what you have already hatched all the while. Keeping in mind that underlying form. Because the whole reason why we are hatching like this is to increase the contrast that we see in the value scale for the drawing. So there are areas of the drawing that our pencil, it hasn't even gone over yet. And those are the areas with the highest values. Hatching in its own right has an aesthetic that some people deem as messy. I don't think it's messy at all. And of course, just like most mediums in art, the more you go over it, the more you refine it, you know, the smoother it becomes, the more put together. It seems like the shoulder here, e.g. I'm just going to hatch it just like this. Then what I'm gonna do is I'm going to cross hatch. It will go back over it. But the opposite way. So rather than going top to bottom, I'm going left to right. And you can continue to hatch. If you want or not. It's really up to you. But notice notice how I hatched vertical up and down. And then I went left to right, and then it went up and down again. You notice what happens to the value. It decreased, right? It went down. We lowered that value. And of course we have a shadow here that kinda comes off of the toga. But all the while, even when you're hatching and crosshatching like this, it is important to remember that underlying form because that is what effectively we are trying to convey when we draw like this, right? Okay. So what we're gonna do is I'm going to show you how we can just continue to hatch, right? Remember I didn't want to put a defined line on the chin. What I wanted to do is I wanted this to be very much and implied type of form. I want that chin to seem like it's protruding out past the neck. I don't want it to appear to the viewer ligands on the same level. And even when you're dealing with portraits such as this, your viewer wants to be fooled. They want to feel like they're looking at something that they could reach out and touch. Like something that actually has form even though they know for a fact that it doesn't. This is one of the reasons why the more you hatch and crosshatch and blend. Those different hatchlings, say e.g. if this was with charcoal, you could take a brush and you could brush over the areas that you had hatched and cross hatch. Know what would happen is that charcoal would effectively be blended into the paper. You would bring out a very nice gradation, right? You'd have a blend across your different values and you would mess with the texture of the drawing and make it smoother. But the way I'm teaching with the colored pencil, I don't really have that luxury. And the only thing that I can do to smooth out my gradations is go over them again and again and again. Different mediums color for different techniques to accomplish the same thing. Just knowing which one you're using and how to get there. But notice how I put that define line along the edge of the face. You don't have to do that if you don't want to. But I'm showing you the difference between implied lines in certain areas of the drawing and then define lines and others. But the cheap muscle and the jaw muscle, it's important to understand basic anatomy. You don't have to understand the Latin terminology for every bone. But it is important to have a general sense of human biology, at least when it comes to the face. It's not until you start getting into drawing full blown figures of individuals, whether they be for cartoons or live action portraits, that you have to really start to increase your understanding of biology. The biggest thing is just have fun with it. The more you think, the more stressed out you'll become. Just have fun. Remember, one of the principal pillars of how I teach. That is the perfection doesn't exist. And even if it did exist, why would you want to accomplish it if you ever do reach perfection in your craft? I asked you this question. What else is there? When you peak? When you arrive? You have nowhere else to go. Something to think about. I don't claim to be the best artist in the world. But I do claim to have fun while I draw. And you should too. Why do anything in life? If it's not fun? But all we're doing here. So I'm just going through and I'm just continuing to work on my gradations, right? And that's what I'm doing. Notice how with every poll and push of my pencil over my current strokes onto the paper, I do get a smoother transition, a softer blend between my low values and my medium to high values. And this is one of the reasons why I wanted to slow down a little bit. And I wanted to have this class be doubled the length of most of the other ones in this seventh video series is because I wanted you to see that if you just take your time, go a little slower. Pause the class as you go through it, that you can really start to play with these and you can build your confidence. That's why I'm coming out with these videos, is because I want you to have confidence, right? Because when you're confident in something, especially when it comes to a craft, that helps you create even more, right? I'm just going to put some defined lines right here. Why not? I really want these eyes to pop or so artists that won't like that, but I don't care. It's my drawing. Always have fun. All right, guys. Well, that was pretty much it for this series. I hope you enjoyed it. I hope you leave a review and I can't wait to see your projects. Stay happy, stay healthy. And remember, never stopped drawing.