Draw Characters 105 Clear Drawing Workflows

1. Draw Characters 105 Introduction: Hello and welcome to draw characters 105, clear drawing workflows. Now, contrary to popular belief, drones didn't just spring out on the page in the completed form, we need to use a logical and coherent workflow in order to generate a rough drawing and move it into a finished drawing. When we're learning to draw, we need to break down the rough stage into further steps in order for us to understand that gesture, the form, the rough drawing, the refined rough drawing. And then we move on to the clean-up stage. In this part of the course, we're going to be taking a look at the multi-stage workflow, as well as the two-stage workflow which you'll be able to achieve once you've done enough of the multi-stage workflow. As usual, I want you to watch all the videos in the course first and get a feel for the content, and then go through it again and do the assignments. This part of course is going to teach you the way that you're going to implement the theory in a logical and coherent way into a practical expression of drawing characters. Hope you enjoy this part of the course, and I'll see you in the lessons. 2. Workflow 1: Two-Stage Workflow: Welcome to the first lesson of module five, which is the character drawing workflows. In this particular lesson, we're going to be discussing the rough and refined stages when drawing characters. And let me say up front that both this module and this lesson of very, very, very important. It's very important particularly that you grasp these two stages, the rough and refined stages, and we'll go into it in a moment. This entire module covers the character drawing workflow, workflows, how we implement our theory into producing a nice finished piece of work. Module six has a lot of additional and crucial character design theory. So you might want to do Module five, go to module six, and then come back to module five again and then understand how to add in all those additional theories. Drawing workflows, general global art workflows, painting workflows. They all generally offer a similar theme. That theme is these two stages of rough and refined. Another way to understand this is that we want to see our two global stages are big kind of breakdown stages as one being the construction stage and the other one being the rendering stage, or another stage being, or another way to put it a planning phase and then an implementing phase. Or another way to put it again would be planning of the drawing and then drawing the drawing, right? It may sound ridiculous. Don't you just sit down and draw something amazing? Well, no, not really. Perhaps when you're very experienced, you're able to do that. But we need to implement theory in some kind of logical ordering, right? And we need to build drawings up in some kind of logical way, as you've seen, where we'd been working in talking about things like shape and form in detail. Right? So let's take a look. Some examples. I've got two examples here. On the left-hand side, we see the construction of the drawing and I'm particularly messy and my construction. So you can see the construction of this portrait drawing here. And then the final drawing, which itself is not super neat, but it's relatively fine and it's got a bit of a raw fish, sort of traditional kind of look to it. Alright. You might think to yourself, well, how on earth is it possible to go from this to this? And we'll get into that. Here's another example which is a character. And this was the construction drawing. And literally I did the construction drawing. I put a layer on top and I immediately drew this on the right. Once again, you might feel like, well, this seems to be some kind of gap in the knowledge. How did you draw her armor and a cloth? How did you think of the details for those things? Why is there no planning for those sort of details? And look how crazy and messy this is. How do you go from this amazingness to this neatness? And we'll go into that more in detail as we move through this module. However, just understand that this is completely an absolutely possible and it's about mindset, which we're going to talk about just now. It's all about mindset. When you're doing construction and planning, you will in one mindset, when you're doing Refund lines and cleaning and finishing up your drawing, you're in another mindset. And a good example for this that I want to bring to the table is an analogy of cooking. Something I find with my students before we get into the analogy is that they tend to try to be neat and clean and all super detailed. And they're so worried that they work isn't gonna look good. So they tried to be all meet in every phase. So there are planning neatly and they're trying to draw the volumes neatly and everything super neat. And it ends up making this really terrible drawing at the end of the day that's really tight and lifeless. And the planning hasn't been well thought out because they couldn't plan properly because they were so worried about it looking good. Let's go to the cooking cooking analogy. Think about it. Is a kitchen that is got shifts in it. Super clean and super neat. I mean, obviously clean in terms of health, but I mean, it's not a neat place. There's food everywhere. These plates everywhere. There's cooking utensils, oil splashing, people are frying up things. There's flour scattered about and all the, all the bits and pieces of the food that they're making. However, when you're at the restaurant and you order the order of the meal, meal comes to you. It comes to you on a beautiful plate. Hopefully. We'll, let's talk about a high-end restaurant here. It's clean, it's neat. You're served well, the food is on the plate, it looks delicious. It's cooked well, it's wonderful. But that wonderful food. And it's presentation is only really a product of the planning that happened in the kitchen. And the understanding of the ingredients and the cooking temperatures and adding all those various things together, right? And so the kitchen is amazing place. It's messy, it's untidy. Perhaps it's not as untidy in a metaphorical sense as my left drawing here. But that depends on the kind of person you want as long as you know your planning well and you know that you're not looking for good and looks in your rough, right? Because you'll get to the good looks in the refined stage. The analogy points to that you need to be loose, right? We've talked about looseness and being loosen your lines and what lines do and what loose lines do. How we want to think about this is that the rough stage is our planning stage, or the planning of the drawing is literally the planning of the drawing, right? It's the foundations of the drawing. Weak foundations on the left mean a week drawing on the right. Strong foundations on the left mean a strong drawing on the right. You have to understand this is a planning phase. In this phase, right? Phase one, which is called a phase one, the rough stage forward slash the planning stage forward slash the construction phase. We are building foundations. And so your mindset, yeah, let's say is much more academic. Mindset is, How do I need to implement the theory? How can I ensure asymmetric shapes? How can I ensure they're opposing curves, ended know parallels, etc, etc, etc. And we're applying the theory and we're building the forms and we're adding dynamism and we're worrying about shapes and were wearing metal, the fundamental stuff. But we don't worry about the finishing or the details. Okay? It is a creative phase, but it's more of a construction creates a creative phase. So you're being creative in a constructive sense in your rough phase of your planning phase on Lake. And when you get to the right, this is the time where you can have that loose freedom and creativity that you see in movies where they're just drawing amazing things. This phase, once you've got the strong construction, you draw on top of the strong construction and new layer or a new page or what have you. Now, because your foundations are so strong, you actually are free within the, within the restrictions you've set for yourself and the foundation you're quite free to do as you wish and to learn weight in detail as you wish, because things on the left are in the right place, in the right location at the right size with all the right theories implemented and you know, what's in front and what's behind, and things all foreshortening and overlapping and there's land line overlaps and all that jazz is happening on the left and on the right, you are free to be creative and loose. And definitely the most fun phase is on the right. And usually the irony is that the planning actually takes shorter amount of time to do. The refunds takes longer, but the planning is harder to do. The planning and left is hard to do because it requires all the bulk of our theory. And then the right side, the refining, it's not that hard to do. It just takes a longer time because you want to get those lines now and you're thinking about the line weights, adding little details, alright? They're really incidental. You make them up a lot of the terms on the spot. Okay? Now once again, I know that you're thinking to yourself, well, they still seems to be a huge gap in my knowledge. And once again, I'll say We will get there because as beginners, you will need to move beyond just two stages. But you need to understand that this is where we want to get to. We want to get to two stages. But we're going to break these down into a few more stages as we move on. Alright, so another analogy that I want to give you is the idea of a building construction site. So imagine if they are doing a beautiful skyscraper in the middle of the city. That construction site does not look beautiful. There are trucks and machines every way, concrete everywhere, reinforced steel bars. Workers that are bulky because they're dealing with sand and stone and drilling and screwing things in and doing all that kind of stuff that they do on a construction site. The reason I'm being so emphatic about this is that while you may think you get it, it depends who you are. You might get it. From my experience. Generally speaking, I have to be super clear superinfection. It is so important that you are absolutely rough and loose and focusing only on implementing theory in your rough stage. Don't worry about looks, don't worry about beauty, don't worry about appeal per se. Just use the theories, the theories of how we getting appeal to theories of how we're building forms, the theories of dynamism, the theories of line weights, the theories of the composition and stuff like that. And that's why module six is important because it's going to add tons of theories. It's really the golden module. But just understand that that is our construction site. We must have a construction site and we must be free and loose, too bold. And then when we move to the refined stage, now we can add gloss and decide on the furniture and the Bolding and what paintings we're going to put in the foyer and all that jazz, right? So you can see that it's much more of a meaningless stage in terms of theory and getting things right, the reflect, sorry, the refund stage. But of course the refined stage is important as well. You need both stages to get a good drawing. So I want to be emphatic and I want to say, you guys guys, please remember this, remember these stages strophe for these stages, go crazy in the rough stage, get things right according to the theory, and then be free in the refined stage, you can be more creative and more loose and the refined stage to get that refund drawing out. All right, we are going to break these down into smaller stages, which we'll learn to combine into these two in the next few lessons. So let's move on to those lessons and I'll see you there. 3. Drawing Workflow : Multistage Workflow: In this lesson, we're now going to look at breaking down the workflow into more manageable pieces at first, before we just move straight onto doing a rough in a refund stage. The word workflow really means the flow of work, logical ordering of the steps we take to get our work done and get it down on the page. So having a good workflow is very important for us because it's kind of like a map. It helps us to not get lost along the way on route to the end of our journey, right to our goal. So what we're gonna do is we're just going to look at some theoretical principles here. And then we're going to move on in the next lesson to a very long, yet hopefully detailed demo for you. So first off, we have our rough and refined we've discussed in the previous lesson. And at least from a theoretical perspective, we kind of have an idea of what these guys entail. And all the while, while we think about the drawing workflow, we also want to think about our general art theory of shape in form and in detail in those kind of percentage splits. Because ultimately it's this sort of global breakdown of odd in general that informs these stages. Now, in our rough stage, you could say in a sense that we have shaped form in detail happening here, right? Shape or form and detail. Right? But we could break things down even more in terms of shape. We would have gesture. And we'd also have opposing curves. We'd also have our loose lines, etc, etc. And there are quite a few theories that would fall under shape, composition and so forth. And many of these things we touch, especially on in module six. And then in terms of form, we have our 3D and our drawing through, right? And then we also have our dynamic forms, which are really informed by shape, shape, and forms a dynamic form. And the idea is that we kind of Bolding at these things, shape form and then details. And of course form as well also has multiple levels of theories that plug into form. And then when we get to detail, this would be things like anatomy. The anatomical details. Now of course, we know that generally speaking, the anatomy of the character would inform the dynamic forms. But we want to learn the basic forms for the purposes of drawing first and then add the anatomical details, right? And this would also be the facial features and the clothing or the armor, cetera, et cetera. The color of the hair and so on, not the color of the, the style of the hair and so on and so forth. And the refund stage really, in a general sense, is clean up. And clean up would be clean lines, right? Clean lines. Easier to read lines. It may be coloring. Maybe some compositional changes. It's really just cleaning the entire drawing up. And to be honest with you, a lot of people would be able to do the refining stage because it's not a lot of the work. We want to remember that we have something like a 90%, 10% split in terms of theory between the two stages. And of course, we want to remember that we have something like a 20% and 80 per cent split in terms of time, because refinement takes a lot of time. That doesn't take a lot of theory. Right? Here we see just this general kind of workflow happening here. And so we might think to ourselves, alright, so that if I want to do a good drawing, a mainly to follow something like do gesture first and then I'm gonna do like the forms on top. And then maybe I'm going to do the anatomy because I want to make sure I get the anatomy right. And then maybe on top of that, I'm going to do close and other details. It's just say and other details. And then once I've done that, I'm going to refine this whole rough piece. And you can see already at five stages here. And then maybe we're going to add a sixth phase. Then we're going to start doing clean lines. And then maybe after that we'll do clean all. We'll do line weights, etc. And we're getting to a lot of phases. And perhaps we think we could agree at a workflow that is this long. It's gonna take a very long time to actually get a good drawing out in a reasonable space of time. Now of course, for the purposes of learning, this is not a bad model to at least understand that in some fundamental way. This is kind of how we're going to be working. But what we want to do is we want to combine some of these steps. Get ourselves a bit of a shorthand because e.g. there's no reason for us to, in the forms section, draw basic forms first and then add dynamism to them. When, if we have a solid understanding of what the basic form is, we might as well just draw the dynamic form, right? And the dynamic form can be and just be influenced by what our gesture is. Using all the theories we've learned so far, we're going to combine a lot of these steps into four major steps, which we will then move forward with. And then hopefully as we're doing those steps, as we're doing drawings, you're doing your assignments and you're watching the demos. You're growing to see how you can actually just have two stages, a rough stage and the refund stage, where you know what you want to plug in into each stage. And so the four stages that we're going to be breaking down all of our work into moving forward just for a few demos is stage one would be our dynamic forms. So we're going to just start off straight out with a bet with dynamic forms and bold and entire figure with the dynamic forms. Then too. We're going to move on to rough details. And we'll just put all the rough details that we need in there at once. Whether it's anatomy or clothing, the hairstyle or what have you. We'll put all the rough details as to who the character is in terms of their outfits and the appearance and their expression and so on. We'll put that all in into the rough details phase. Then we'll do a refund rough. This is us really solidifying and saying, Okay, I definitely want these things in. I don't want these things in. You're going to refine it a bit. Refined, rough, must read. It must read clearly, even though it's going to look super messy. Just going to write here probably looks messy. And that's fine because it's a rough it's a construction drawing, it's a planning drawing. And then last but not least, we're going to do the cleanup drawing. So we're simplifying, we're going to be simplifying all of our theory into these phases. And we'll start getting used to dynamic form, drawing, adding rough details onto the dynamic forms, refining that rough and then cleaning it up in one fell swoop. That is what we are going to move on to next nice lengthy demo on this particular drawing workflow. I'll see you guys there. 4. DEMO Multi Stage Workflow: We're now going to be taking a look at a four-stage workflow speed demo. And the speed demo is a 13 minute demo where we're going to go through the dynamic forms, the roof details, the refined rough, as well as the cleanup stages. Now some important things I want you to remember is that we want to be aware of what we need to be focusing on at each stage of the workflow. This particular demo leaves out many core theories for module six, character design and allows us to keep design theories to a minimum so that our focus is really on the workflow. Don't worry about looks too much when you're practicing this in your own work, just focus on grasping the workflow as best as you can. Following this 13 min be demo is the full two-hour demo of this particular workflow. So please do watch it as you feel you need to. All right, let's get started and we're going to move into the dynamic forms stage first. So as we start in this stage, we're really focusing on the forms, just getting the basic forms down. Now obviously we want to think about the pose, the angles that we want to do. We want to bring in that gesture theory, but we're not worrying about or being too overly concerned about details. We're not going to add pockets of the stage and different clothing designs and things. Now, we're just going to focus on the big forms and the big masses. You'll see here that I'm busy measuring out the proportions. I've checked the angles from our gestural knowledge, the horizontal and vertical tilts. I've given a bit of a check. You see I've done some circular heads just to kind of measure out the proportions. I wouldn't say there are 100 per cent, but in this demo we are going for a cape crusader type of character. So I've made his proportions just a little bit more sort of heroic. And I'm using the basic cylinder forms, really the basics and the forms and the basic forms we've learned in the anatomy module. To really just get those anatomical forms down to allow me to draw on top. At this stage, you really want to get the pose that you want down. You want to, you can experiment. Of course, it's a rough stage. Don't feel you have to draw anything really perfectly here. Experiment, move things around, move parts around. If you're working digitally, sometimes it's very easy to just do a selection and move it around. And also if you're working on paper, stages 12.3, you'd really just all due on the same piece of paper, just erasing it and making it louder at each stage. And then doing your clean up. On the last page. There you can see I've flipped the page around. You can use a mirror if you're working traditionally, this is very useful. It helps you adjust your eye to the pose to see if you've drawn any angles weirdly and you can see I made a tilt adjustment there. Then I end off by religious solidifying a lot of the forms or add in the Cape form, just the basic shape of it. And that brings us to the end of working on the forms. The basic pose gets completed, and we're ready to move on to the next stage. Make sure that as you end each stage, you're doing everything you need to for that particular stage of the work. So in dynamic forms, make sure that the pose is really solid and then move over to the rough details. With the solid foundations of our dynamic form stage down. We're free to move into our rough details stage. And we drop the opacity of the lower layer. Or if you're working on paper, you can simply just erase lightly with a kneaded eraser and then draw on top. This particular phase is really about getting everything in the right location and looking relatively right. But we don't have too much concern for things looking neat and clean. We want to get things in. So everything that needs to be in should be in all the design elements. Here you can see I'm adding the shape of his logo and a lot of the details of the anatomy, but not in some excruciatingly detailed way. It's kind of a general way. So you want to think of it as getting all the elements you need in, in a general way. And then when we move to the next phase, we can then refine those rough details a little bit more. Can see here there's not really much attention paid to his facial expression or his hair design that much. Laurel probably just kind of enhance his head is a little bit later on. But it's making sure the bulk the details are in, but that the bulk of the details aren't necessarily detailed. Once again, keep in mind that this is a rough stage, so everything's game, everything's changeable. Don't feel locked into anything. You'll see that even I will make multiple changes to the legs and the arms and various other elements. That's what it's about. We're building something and of course, we're going to have various challenges along the way that we need to address things that don't look right to us or things we feel could look better. And this is definitely one of the goods stages to change it. And of course, the next stage as well that you can see I adjust the tilt. Once again, I'm kind of thinking about additional elements that I may want in the piece, anatomical details, costume details, and so on. You want to strive to be feeling confident with each stage in itself. Don't think to yourself, Oh, does this look good? Does this look good? It's not about looking good necessarily at these stages. It's more about, is it theoretically correct? Does it make sense MI implementing the various theories, in this case, e.g. the tilts and tilts, there are the opposing curves there. Does my line of action makes sense? Is it strong enough? And can you see me adding additional details and costume details to the rough ER, the rough details phase and getting, just getting the bulk of all the details in building on those foundations. The key thing to remember as we move into stage three is that this actual video lesson is really about workflow. I want you guys to understand and grasp the workflow, the concept of the workflow, and the various stages of the workflow. Think about what theories would plug into each stage. When would I use shaped theories? When would I use form theories? When would I use both? When would I do detailed theories? Should I be thinking about shape, the refined rough stage? The answer to that would obviously be yes. This particular stage is where we are refining these rough details up to a more appealing level. We're adding in elements. We're adding in details. We're making things look cleaner. We're making things look more readable. And we're building on that rough details foundation that we came from before. Once again, we made the layer a lot lighter. Once again on paper, you would erase with the kneaded eraser and make it a little bit lighter. And we draw on top iterating, adding details, making changes and so forth. An important thing to note at this stage is that this is really our last opportunity to make structural changes. Because when we do move into the clean-up stage, you're not really going to be able to, in a decent, timely fashion, make massive sweeping changes. You want to make sure that your structure is 100% exactly as you would have it before you move on to the clean-up stage. And so the rough the refund rough stage here is where you want to make any final changes. If you're unhappy with something, change it, go for it. It's still game. As long as you're in the rough stage. You can change anything. And you can build anything from dynamic forms up to rough details, up to refund rough. Once again, even in this stage on this particular layer if you wish. So go for it. Don't be afraid. I change that leg twice. This is the first change I'll make and I'll change it again because I'm not 100% satisfied that he is looking heroic enough and bulky enough. You'll also see in a few moments that I will do checks. I'll check for parallels, which is from shape theory. I will check the proportions, which is from anatomy theory. And I'll make adjustments based on what I think is more correct. And so a lot of the time you'll find having things correct according to shape theories, form theories, detailed theories is what will make the piece look good. Not trying to make it look good, but implementing those theories that, you know, the theory is correct. And because the theory is correct, It looks good. Because it looks right. It's still very messy. It's still very rough and honestly go for it. It can be messy. It can be rough because we're building right? Or we're cooking in the kitchen. So just be Macy, be rough and do what you need to do to make it work. Here I check the proportions and I was checking the forms. Realized his torso was a little bit long. So I kind of brought it down from the crotch abroad, the crotch area up a little bit. And then also noticed some parallels in terms of the silhouette of the legs, which I've been changed so that the internal negative space shape didn't have a silhouette. There's my second change of the leg. Abroad it in more because I wanted him to lean back a little bit more, seem a little bit top-heavy, and really get that feeling of confidence out in the character. And I'm pretty happy with most of the rough details here. I'll do a little bit of extra work on the face, adding in some additional facial details. And we move on to the next phase. In this stage, we have quantum mindset shift. We're really wanting to be loose with the lines. Get really perfectly straight lines going. Focusing on the shapes, making sure things look really good, as good as they can. We want to avoid sketchy, sketchiness and roughness and really have a more of a clean look. Now, this of course, the style you're going for has a bit of a rough look. Then of course go for it. And really being loose with your arm. And also thinking very much about dynamic shapes, just the basic flat abstract 2D shapes, making sure they're dynamic. You'll see here as I move through the piece, I'm adding in final details. I don't stick strictly to the underlying plain. And that's really because I want to keep the lines loose. And sometimes when you're moving very quickly, the lung is not going to be exactly to plan, but it will still look good. In a sense, I'm tracing over my drawing, but I'm being quick and being loose with the strokes, making sure things read or they're very, very clear. If I've defined dimensionality in one of the previous stages, I want to enhance that definition here. And I move over all of the elements that I've drawn out, creating these clean lines, these quick lines, generally trying to draw with a thinner line, because when we get to line waiting, it's easier to wake up alone than it is to weight it down a line. So it's easy to make the lines thicker than it is to make them thinner. So you want to start off with a thinner line and it makes it easier to wait it up. I'm very conscious, extremely conscious about overlaps at this stage because I don't have all of these rough lines every way to help me see the difference between Ford and background objects, the overlaps become extremely important. And so you'll want to be thinking to make sure that all of your overlapping lines read very clearly. And then once that is done, we move onto land waiting, which helps the overlaps and shows us what is in front, what is behind. I do two kinds of land waiting here. We'll cover this in a later module in more detail. But essentially, I thicken up any lines that overlap other lines. So any objects really that are in front of other objects, they get thicker lines, e.g. the head in front of the neck, and then a underlying line. So a line that is being overlapped, I will put what is called a hook shadow underneath. It's almost like a small triangle shadow. And it just, it comes from below that object. You'll see hook shadows pretty much everywhere. There is an overlapping line. Don't worry too much about that for now though we will go into it in much more detail later on. But focus on really the mindset at this stage of the workflow. It's a very much an easy stage. It's very, very easy. There's not much thinking to be done because you've done all the thinking already. It's really cleaning up, refining, making little tweaks and adjustments, making the landscape and making it look pretty. It's the icing on the cake. It's important to note that really you can't do this stage on a poorly designed to work. In the other three stages, it's basically polishing a ****. It's still gonna be uttered. It's just a sheer very shiny toad. So don't worry too much about this. If you haven't got the structural stuff down, get the structure down first. Finally, each consecutive stage tends to take longer than the stage before this stage probably took about the same length of time as the first three stages. Yet it required less thoughts, just more time in making things look nice. As we end this lesson, let me emphasize workflow, Workflow, Workflow. This lesson has been about workflow and helping you grasp and understand the stages of the workflow and also how powerful a good workflow can be to getting the final work done. Ultimately, we want to end up with a great drawing. We want to understand how to make drawings look great and look good. But before that we need to grasp the workflow. So please don't worry about looks at this stage. Don't worry about looks even in terms of your own work when you're practicing this, just focus on getting the stages of the workflow done in grasping this concept of workflow. And that's the end of this lesson. I'll see you guys in the next lesson. 6. Finding Your Ideal Drawing Workflow: In this last lesson, I thought we could talk a little bit more about workflow as well as funding your own workflow. As you can no doubt see, by this phase of the course, there are quite a lot of theories that plug into different stages, different theories that plug into shape, different theories that plug into form and detailed and so on and so forth. And you can also see how, especially in essence to how we've kind of broken down some of the things you might want to do to have a strong workflow in building your drawing up from the ground up. Now, obviously things can go into very granular detail. You could arguably started drawing with a very shape-based life gesture, then bold carefully forms on top of that, then add dynamic forms and so on, as we noted in Module in less than two. But at the end of the day, what you want to end up with is something that works well for you. You will need to eventually draw on whatever theories you need to get the piece down. You'll find that when you're moving to a two-stage workflow, you end up combining multiple types of theories together. So e.g. you would be drawing from your gestural knowledge, let's say shape-based gestures where we have dynamic shapes. You might draw a character that has a phone-based chest, a phone-based head. And then for the limbs, you simply just do shape-based gestures for the limbs. And why not? Because you ultimately say to yourself, well, I really do understand what the form is going to look like on top. I didn't really need to draw the dynamic forms, perhaps not anymore if you're gained significant experience in that, we just generally experienced that. Or if you have a very superior anatomical knowledge, you just indicate with vaguely what that's going to look like. Nevertheless, do know that there isn't such a thing as a perfect workflow. There's rather kind of eight workflows that follow the same general principles, but each artist does things in their own unique way. I've seen artists that will do this type of workflow on each element individually. First, they'll do shape and then rough details and a refined details. And then the cleanup lines on just the head. And then move over to the chest. They build the entire image piece by piece. And that is totally doable, right? If you think like that or if that works for you, then do it that is totally doable. And conversely, I've seen artists that needs to do everything in a very long, perhaps very in-depth workflow where they want to get the gesture absolutely perfect and they want to get the dynamic forms absolutely perfect. And they want to get the anatomy absolutely perfect. However, over time you will find yourself molding and bringing in all the elements that you need using the theories simultaneously. So my encouragement to you is that especially if you are a very, very new at drawing and you're still in the beginning stages, perhaps this is your first drawing course. Follow that workflow fairly explicitly and it will be a good foundation for you moving forward. Now, a lot of people will say, Well, there's 50 million ways that you could do drawing. There's 50 different kinds of ways you can do drawing. You could draw this workflow, this workflow, this workflow. But I strongly believe that if you teach someone to do one thing very well, they have a foundation, then when they can do that one thing very well. Let them go and explore the other types of workflows. So I say to you, definitely learn from this workflow, use it, build on it. You understand how the theory at this stage of the course plugs into it, bolt on it. So learn this particular workflow. Well, use it, successful with it. And then of course, explore how you can either make it shorter, make it quicker, improve on it. Perhaps you can make it more efficient for yourself, etc, etc. Perhaps you get to a phase where you even draw in one stage. You don't even have a two-stage workflow of Ruffin refund. That's great. But really just remember to always base your drawing and you're thinking about drawing on all the fundamental art theories that we've been learning. I hope that this module has been extremely helpful to you. Please work very hard in your assignments. And then I'll see you in what is probably one of the most exciting modules in the entire course, module six, I'll see you there.