Drawing Cartoon Humans! Part 2

1. Welcome! : What's up, guys? Dave Reed Here, AKA drug-free Dave, and welcome to drawing cartoon humans part two. Thank you so much for taking my other drawing class, drawing cartoon humans depart one. And we're gonna keep this train going right along. Now. We're gonna, we're gonna keep, We're gonna keep this train rolling in this one, we're gonna do the body. So I'm gonna do two different body types because I couldn't figure out which one I wanted to do. I always want to do so much and we're gonna do close on them. We're going to do all the rough sketches, sketches. And then once we get that done, then we're gonna go into the line work. Now I'm sure you've been seeing all my videos, my linework videos. I've been having a lot of fun with them. We're going to use Disney ink, one of my favorite brushes. But even if you're using another App, Clip, Studio Paint or Photoshop or whatever, just use your favorite line art brush. I think that's, I think that's pretty much it. We're just gonna go right into it. Let's move on to the next video class, project. 2. Class Project: Just like with the last class, I love seeing what all of you guys did with our character here are GAO. You guys did amazing work and I really loved when you share it to the class and everything else. So with this one, we're just going to go further. We're going to do with the body, we're gonna do close. And of course, as I always say in my videos, and I'm not going to stop saying it because it's true if you want to do something different, if you have like a certain pair of sneakers or a certain shirt, a certain outfit, or you want it to be a certain look, or a certain wherever you want to do. You can do that in this class because you're still gonna learn how I'm thinking, how I'm getting to certain places. And you'll be able to see my mindset. And I want you to have that mindset. I want you to be free to do whatever you want. There's no rules that if you do something and you want to show it to me and you won't like a critique or something like that. I'm happy to do it because I just want to make you a better artist. And this is how I feel like I can do that. This is gonna be fun. No pressure, just like with the last class. That's all good we're gonna do to body types. You can do one or the other if you want, if you don't want to do both, if you wanted to split, I mean, you'll learn a lot more if you do both, so I suggest doing both. So just like we did in class, you can download Disney ink. I'm going to put some templates. You can download the line work if you want to just make that really light. So we can help. Don't have any shame when you're doing that. That's totally cool, totally fine. That's how you learn and we're gonna learn today. Alright, so I think that's what, that was a long class project for me, but I think that's it. Do your thing. Draw with me, hang with me. We're going to have fun. Let's move on to the next video. Getting started, I almost a class project again, getting started. I got to work on my winks. Don't judge me. 3. Getting Started: Hi guys. Welcome back. We're going to give her a body. And I'm just gonna go through all of the steps that I do. Just want to make a figure, not just ahead, of course, we have to give her a body, so we'll do that and then we'll do the line work after that. First things first, you can see that my canvas is horizontal. So I'm actually going to do two things. First, I want to, first I'm going to lower the color of this background. I always do that. You've seen it in all my videos. I'd like it to be sort of warm, sort of grayish. Just makes it I don't know. I just don't like it to be bright white. Next, I'm just going to turn my canvas. It's vertical because obviously she's gonna be standing. So it's gonna be a vertical image. And I'm actually going to change the canvas size. I'm gonna go here to the wrench and crop and resize. Let's go with 3,300 DPI. Because before I just had the canvas size, the default canvas size. I think this is better. And it's okay. I mean, it's just a sketch, so it's not that big of a deal, but if we're going to do line work later on, It's better to have the campus bigger. Now you went and you want a bigger foot to do. It doesn't matter if it's small. We do the sketches. When you do the details, when you start to get into the details, that's when you want the canvas to be. The size that you're going to be. You want finished and you definitely want 300 DPI. Next, we're just going to take our layer C. I have everything in a group here, the little elements. Everything is in a group. So I'm just gonna take the group just in case you don't have anything in a group. You can just highlight all of your details. Just swipe right on them, and then just hit group up here, and then you'll have your nice group. But now since I have the group, I'm gonna go to the Transform tool and I'm just going to turn it. And if you wanted to get if you want it precise, you just go down here to snapping. You just hit Magnetics. I have mine distance three, velocity 1.7. You can probably play around with those, but usually as long as magnetics is on, it will snap to and it'll be a little bit more precise. I'll make this, whoops. I'm gonna stay in this transform tool and go to uniform and just make it smaller. And then bring it up here. Maybe a little smaller. Feels about right. Now we at least have the space. In order to sort of sketch out the body. Will go with, we'll go with it, the sketch light. It doesn't matter what color you use this sketch with. The most important thing is that you do it on a new layer above. We don't have to worry about the hair or anything like that because we're going to put everything on top of this layer. Firstly, we'll just start with her body. I started just to a loose rectangle, a little bit smaller at the bottom. Of course, you can always make this even smaller or even longer depending on how you want the torso to be. That's just my little pelvis type shape. Pelvis like shape. Little section here, a little stomach section. And then these lines going up, something like that. I do legs coming off. If you notice I do a straight line down the center. I have to make everything smaller again, but that's fine. Really, really sketch out those legs, knees and just make a circle. I do a little space underneath the knees like around the knees. For that knee space kind of area. So there's a circle for the needs that I use like that just to kind of block out where the knees are. I'm gonna go ahead and make everything smaller. Another option that you can do is go to the Wrench Canvas crop and resize. And you can actually make it and actually make it bigger. I'm actually see where they are. You can make it bigger like this. That works as well. She's very tall here, so I think I like her tall. Why not? Now for these legs, her legs are pretty much together. But I always just do a nice sleek shaped like this for if I come around, I do have to figure out how I want the legs to be. It looks like this leg is gonna be sort of behind this leg. I like that she's sort of standing irregular so I'll just kind of fall down on behind like this. But this is important. This is the calf, so it just comes out like that. But round. But you could actually do straight as well. It would just be a lot more stylized. You go with the ankle and the foot. Let's make the ground now. I'll just make a line. It's going to be the ground. Then I just work sort of like triangles. Triangles, but then they sort of cone out. I usually do this for the feet because then you can just make around part. It just works is as feet, especially when they're sort of foreshortened. Like this foot is coming towards us. I just do this. Then I can make a little round bit that would be like the front of the foot. And here I could do a little round built like that for like, you know, toes or the end of the foot or whatever. But I don't have to worry too much about that because it's still very stylistic. So I'm not trying to get to two technical. They just have to sort of feel like what they're supposed to be. 4. Arms & Hands: We're rename this body legs. We might break this up a little bit later, but we'll make a new layer and we'll call that arms. It's just nice to break everything up. How about something like this? We'll do something like that. What did we did? Something like an arm coming down then might be a little most to sassy. Like that. I think I like the hand coming up maybe a little further away from our I'm going to turn off magnetics way. It can have more leniency when I'm moving, moving this around. And also notice the hair sort of blocks my vision a little bit. So I'm just gonna get rid of the hair. I can actually get rid of that line as well. Go back up here just to kind of clean it up a little bit. Now, go back to my square for the hand. No, bed. Torso is a little too long. Arms. A little weird. Let's adjust. This. Should be a little bit bigger. Something like that feels a bit better. This can be a bit smaller. I actually think all of this can be brought up higher, I think are torso is way too long. Like that feels a lot better. Let's practice some hands. When I draw hands, Dumont, a new layer, I usually start with square. And if we look at our hands, there's sort of like this portion of hands. And I sort of draw that like this. That's this portion. I'm drawing the thumb for. This hand is sort of like this or like this. So let's see how my fingers are pointed. My fingers are, we'll make these two fingers coming out. Then we want to other squares or rectangles coming down. But keep in mind that this square there is our, is our whole palm. They can't be that off the mark. Something like this. The reason why I do this line is where this part of the finger means here. That's what this line is. That's what this line is. Now I'll just kinda make it fit. Tend to McCain sort of big for some reason. Let me just shorten up his hand a little bit. Now for the thumb. I'm going to come out sum up. Here's the now just so you can sort of see how I'm making the thumb will erase these lines in the back, will bring the pinky down a little bit just by using the selection tool. Something like that and actually looks a bit better. Like I always say I make the hands really big. Sometimes. I'll even make them a little smaller here. I'll make these fingers a little smaller. Maybe these needs to be a little smaller as well. 5. Hand Animation Exercises: This is just a little sidebar for the p side are tough. I want to do a little experiment to sort of help me with hands. First I'm gonna go to the wrench and then I'm gonna go to animation assist. And now with animation assist, I've only got one layer on. So you see this one little layer here. What I'm gonna do is I'm gonna make, I'm going to be interrupted, but that's okay because this is just a quick little sidebar. We have our square and we have our little thumb thing there. I'm just going to duplicate this. So now we have two frames of our animation. But in this one, I'm going to make the thumb. Then I'm gonna make the hand coming out. Index finger, middle finger. The middle finger, index finger. And I can't do this really quickly. We have one. Now I'm gonna go to the next layer. I'm going to just move everything slightly in. I'm going to keep this basically the same, these two. But I'm gonna start to close these. Let's start to close them a little bit like that. And we'll see if this even works. I'm gonna duplicate this layer. Then I'm going to erase that part of the finger. And I'm going to add the nails here. Erase the thumb to we'll bring the thumb even more over like that. Then we'll do another layer. I'll do the thumb even moreover, we'll keep these two the same. We'll make these very much folded down now. They endanger. Okay, so now I'm gonna make another layer. See how this looks. Actually not bad. I'll use the last frame. So for the close because when I do this, if something's off, then I'll be able to see it. And this actually doesn't look too bad. Good way to practice hands and things like that. 6. Body 2: So just for the heck of it, let's do another body type. Why not? Back the disease gets light layer. For now, we'll just call this body two. And I'm going to move everything. All the layers that we just did, including this group, including highlighted all of them. I'm just gonna move it over to the middle just to give me a little more room. Make sure I didn't. Body type two when I usually do bodies. Again, the shoulders and the square for the body is the main. To make this brush a little bit bigger. Again, I'm using Disney Disney sketch light. We go, We'll just this main box is kind of the that's kind of where everything comes from. Make our little square down there. You know what? Let's try to keep this one simple. Even more simple. We'll make this one will make this middle leg. One leg goes straight down to as curvy and as stylized. Try to keep these lines a little thicker. Thighs don't need to be that long. We can actually bring this circle up a little bit. Tend to make everything really long and extended sometimes. Now I still do this little space underneath the knee. I'm going to do the floor here. Around there. Something like that. Let's see what do we want for the top? How about let's do hands in the pockets. We want to go a little bit off here with the shoulders out a little bit to be out too much. Then we'll just make a mark where the pockets would be. In this, I'm going to bring out even a little bit less as though the arm is behind the body more. Then it just comes up into this pocket. Something like that I think is pretty good. We'll make this one. Just be a little bit, a little bit simpler like that. And we can actually make the neck a little bit thicker to get a bigger body, just like a thicker, thicker body here. So we'll give her a thicker neck because this neck is really, really skinny and doesn't really fit the body. Wherever body types you're doing, you just adjust different aspects just to make it fit body. And you'll be good. Make this a little more round. Maybe she's got I want to give her eggs. But I feel like I feel like people are gonna maybe they don't like dogs. I don't like dogs. I don't have anything against drugs and never have I know a lot of people who have something against them, but I think they're comfortable. I used to own. I get on some two pairs actually. But I think this is a good, a good sketch for just a, just a different body types. We have that one. Then we have this one. Really super cartoony skinny. And then just some more regular body shape. 7. Body 2: Clothes: Now I just want to dry. I just want to draw some very simple clothes on the body shapes. We'll start with body too. Is I do that a lot. I create a lot of extra work by doing two body shapes, which means two different types of clothes, but that's part of the process. And weird learn. Okay, so let's make this close. By. T2 will make this close to. Let's go. I'm gonna go to the sketch first. And I'm just going to give her that neck that we were talking about. Old little bit thicker neck, Something like that. Just so we have a better indication of how we want to draw our clothes. I'm gonna get rid of the head. I might be a little easier. Lower the opacity of the body too close. Let's give her a big t-shirt. Maybe a big t-shirt, something like this. Maybe it's maybe it's a big V and then there's another t-shirt underneath it, something like that. Then I make these lines come up and T-shirt can be in front of the in front of the pockets. Here we'll make this line come out. This will be her actual hands like skin, something like that. And then we can just follow these lines, since that's gonna be the actual That's not really closed, That's more of the body for the pockets. Does to draw a line like that as long as it's in front of these. And it'll look like, it'll look like pockets. And actually let's see, we can probably make this go all the way like that. We'll just keep it clean and make that goes straight down. We'll do the same thing with the pants, will keep this line sort of behind this like that. Then we'll just go straight down. We have to figure out what kind of what kind of footwear she has. Let's see. What kind of footwear do we want to give about? Could be boots. It could be. Was thinking about flip-flops. I do like flip-flops. Let's do flip-flops. Let us make a current, Let's Make a role in the genes. You see how I do that. I just make the line across. Coming out a little bit like that. Maybe another few lines there, but we can keep it clean and not have those line going up. Straight line across. And then we'll do the same thing. On all of us. We all this, we just use those shapes that we made that keeps it nice and easy. Maybe I want to make the t-shirt go a little bit lower. Don't ever be afraid to let go and make changes in experiment. I'm actually going to make this lower too. Because you don't want this line. You don't want this to be way up into the shoulder because that means that the arm is really, really small. I don't want her to have really small like armpit areas. Also, I can see that I made this shoulder. This shoulder is way too small. I need to come out and make this a little thicker here. Here we go. Just make the t-shirt little bit sleeve a little bit bigger on that side. That looks pretty good. If we want to make flip-flops. Going to make the toes. We'll make that one toe and then I make smaller toads in the shape of another circle like that. Then I just separate the toes out. Using that circle. Then I make a little shape like that. And the one on top, little bit in-between the toes. Just connect them up there. I'll make my brush a little bit smaller. People flushing toilets. I'm gonna do the same thing here. Make these other toes here. That make the little thing going in between the toes will make a little angle here. People pouring water. Here we go, That's a little better. A little small. 8. Body 2: Clothes (Alt): Hey guys. So just as a reminder, there's no audio for this video. Fiance's way too loud. So sometimes I just can't record classes, but I think the outfit came out very well. It's very fashion forward, so I just wanted to include it. So feel free to just relax and draw along with me. And you cannot use the template that you can draw this outfit a little bit easier. 9. Body 1: Clothes: So again, I have a new layer above. And we'll just use sketch light. Let's lower the opacity. Body legs, the body to body one. Let's do a turtleneck. I think something like that will sort of just bellow out a little bit here with a and then add a little little cuff at the end. We'll bring this, bring this line down a little bit. Again. Make the little cuff here. We'll just do a little bit of, a little bit of a bellow. Maybe not that much. Something like that. What kind of pants do we want? Let's do a straight line across. Let's do a little fist. Going to mostly be like a curved rectangle, something like that. I'm going to try to keep these lines fairly straight. This one is straight up. We'll just keep it very simple. Ankle will give her some some of those flat shoes. Little rounder like that. This can be a little bit more. This line to be thin because it's mostly just, it's mostly just the fabric kind of breaking. Then here we can just do a chest area. I don't really like to do it super exaggerated and maybe a line in the middle to kind of show, you want to show the fabric there. Because that's really what it is. I'll just erase a little bit of this line here. Just so you can really see that the fabric, something like that. We'll cover some more bigger hips. I think. You can experiment. It is all these are, is just once you get to these contour lines, you can just make it look like however you want. I think that looks pretty good. Hands are a bit big, so I'm just going to use the selection tool. Just make them smaller. I tend to do that. I tend to make hands big. Then I have to come back and adjust it. But that's part of one of the great things about digital art. I'm going to adjust the sketch. Since I haven't, I haven't done the lines the drawing over the sketch, so I'll just make the sketch smaller. Let's see if we want a different angle. Like that angle. I'll go back up to close. It really doesn't matter that I'm doing the hand on clothes because we can do lines over this anyway. So not that big of a deal. Brush a little smaller. I'm going to try to make her hands a little bit more delicate. I'm going to angle this angle this finger. It looks a little more natural. I think I'm going to edit. This arm is well, you guys have this template. But sometimes when I go through stuff, I went up having to change things. A lot of this, we can clean up the lines, but what we really want to work all this stuff out with the sketch, It's very important to just work out the issues and drawing things like this are not easy. So it's okay if you get frustrated, if you have to do something a bunch of times, I have to do I could do it a bunch of times. Even when I'm when I'm making this because it's a rough sketch and then it's irregular sketch. And that's when you work all these things out. So let's bring the arm out here. Maybe not too too long. Let me make the little cuff here. Probably make her fist a little smaller. But it's resting sort of behind. Make it a little thinner here. Something like that. I'll buy. 10. Unifying Sketches: Now let's make a duplicate of the head. I'll just duplicate the head, like so. And I'm gonna bring this one all the way up top to the very top, and I'm going to hide the bottom. We have the head here. Let's just position it. It's actually pretty good. Sometimes you might want to put like a little bit of a twist on it. But I think that looks, I think that looks pretty good. I believe that. Alright, so the next thing we have to do, once you have this, you can really just flatten it. You can flatten this whole head. Then all you have to do is erase the parts that are in front. Let's rename this head. Just erase the parts that are in front of the head. Here's the hand. This is why it's important to label your layers. My layers are a little messy right now. I'm gonna go ahead and merge my whole sketch together. Okay, that looks good. Where's my hand? Here's the hand. I'm gonna bring the hand down. Merge that we have body one. Then we have close one, which is the second layer. I'm gonna bring that up to bring body one up as well. Now we have our three layers here. This one of course is hidden. The original body. It's always good to organize your layers much better than I've organized these. But just label them. It'll make it easier. Now for the head, we just want to erase the parts that wouldn't be in front. We just want to erase the lines that go into the turtleneck. Going to resolve this. We can erase inside the hand. Then we're good. Look at that. I love it. Let's just bring back the next body. I made two of them. Which one do I want to? I like this one a little bit better. Actually, I think it's more fun, a little more fast and forward. We'll name this one body too. We have body to bring back our head again. And I'm gonna get rid of the hair this time. I'm going to just still gonna, I'm gonna move this over. But I want to make sure that I make the neck thicker. I think that looks pretty good. Let's just go ahead and erase this neck. Will erase that neck. And we'll just make it a little thicker. Bring back the hair. Maybe you won't. Maybe we want to keep some of the hair in front. Let's go ahead and duplicate this in case I want to go back. I always like to make an extra one just in case I've duplicated this group. And now I'm just going to flatten this. Should be hit too, but it's close enough. I'm going to bring it up above body too. We have this one and we have this. Now, what if we want to keep some of the hair in front of the body? We can do. I think I'm erasing the wrong thing. Something like this. Make the rest of this here going behind. So I'll just erase. Since we're doing that, we'll go to the body and then we'll just erase the lines of the body instead. Like so. Let me go ahead and group these. I'll just call this one too. I'll call this 11. We have one here. We have to love them both. 11. Line Art Prep: We have both. Now I'm going to make a new layer above, and this will be our line layer, body one lines. And I'll do the same thing with this one as well. Body lines. For body one, I'm just going to lower the opacity to really like maybe about 25. Disney ink. Let's see Also my canvas size. Let's get synched up with our canvas sizes. Right now. Right now, mine is, I'm just going to make this 2600 by 3600 just to make it easier that way. So when we use the brushes, It's all the same. I'm going to keep the brush right now at, I think nine is pretty good. For all these delicate lines. You just want to keep the pressure fairly light. You don't want to go as thick. Obviously like right here would be thick. Whereas this line, this line, very thin. And also another thing that I always do when I'm making my lines, I started out soft. Start off softly and then I press harder and I softly. So that's another thing that I, that I do. So for example, this big curve, I'm gonna try to give this in one swoop. Because usually with curves and things like that, they look better if you can just get them in 11 swoop. Do you want to start with just start lightening, Something like that. So just keep that in mind when you're doing your lines. And I want to show you how my my arm moves when I make my lines. These are pretty standard. I pretty much tried to keep my pencil is steady and I just tried to drag it along. I don't usually try it. I don't usually do a lot with my hands. When I'm doing big lines like this. Try to keep my hand is steadies I can. And then just sort of with the rest of my arm, I sort of drag to make the shapes. 12. Line Art 1: Okay, So I'm gonna start with the eyes. The more difficult the facial features. I'm going to start there. You notice how I go over and then I just swing back to sort of thick enough this line. Because line weights are very important. It's also important to turn the canvas that your linework is as simple as possible. I'm going to try to keep mine straight, but don't be afraid to, don't be afraid to to change the canvas around. I'm gonna do this one again, but I'm not going to turn it because I'm gonna make a cool time-lapse out of this. So I will try to keep my canvas street. But you don't have to. I'll use, I'll use Disney outliner to just make this a little thinner. All the way, kinda like it. Maybe I'll make this one fatter. It can be a little thicker, kind of match the other side. Noses are very delicate, so varies. Very light. If you need to make your brush smaller, you can do that as well. Now the rest I think I'm gonna do on a different layer. Right underneath those lines. I'm going to move a little bit faster because those are the more delicate lines. Everything else is not as critical as the face lines. Notice I made this loop in front of the ear. Now I'm going to bring the ear around. The hair is in front of it. Make the ear a little bit smaller. It looks kind of big. I'm just going to make it a little smaller. And just, you know, make the line inside of the sketch usually to join the head and the ears. I usually just make some lines like that to sort of have it look like there's little baby hairs that are still there, kind of underneath the hair and above the ears and things like that. It's now we'll do these fun big curls. I see that the hand is here. I think I might do the hand first and then come back to the hair. So I'll start on this side of the hair. Now. As you know, I find this part to be very relaxing because we've already done all the hard work. The hard work is really in the sketch. Granted you do have to do some some work with the lines, but as long as you have a good brush that helps, you don't have to worry about it too, too much. Not too bad. Now we bring this hairline back down, back there as well. Then for the eyes will just make another layer underneath that. Will do the same thing that we did with the sketch. You can lower the opacity. If you want to make sure that you're matching up with the sketch, will duplicate that. Bring it over. So then we can bring back up the opacities. Just make sure everything still looks good. Might want to move this a tad bit over. Just so it looks like she's looking at camera. That works for me. I'll go ahead and merge these two layers. 13. Line Art 2: So now I'm going to do the same exact thing to body to lower the opacity and trace over our lines. I'm going to try to move a little bit faster. Again. This is the, this is the fun bit for me. Hopefully you're having some fun when you're doing your lines. Again, I'm using Disney ink. And size seven. Maybe we'll go eight for this 18 for this one. But you can do you can do whatever signs that you prefer. Let's do the same thing and get back into this line work. Okay, that looks pretty good and I'll do the eyebrows and then I'll do, I'll make a new layer. I like to do that because sometimes when I color it, I went to work with these lines separate and then all of the other lines. Here we have the hair that comes over. So let's go ahead and do the hair now. Try to do all the hair. Let's see what's a good way to. I think it's looking pretty good so far. Now the brush is doing most of the work. The only thing that you should remember is. Try to start and end each line with a lighter pressure. So you want the middle of the line to be the thickest? Do you want the ends to be the lightest and thinnest? That you can just keep that in mind. It, it'll take some work. But that's essentially what I tried to do. Don't be afraid to just get in the zone. Just try to, just try to go with it and feel it. And this is a good way to get in the zone doing line work. And make sure you that you use the template. If you run into issues, just use this template. I might even do my line work, but make it really light. Might even be a better idea. That way you can practice. You can just go right over my line work. You can see I really get into a zone around doing line work. I don't want you to think that I'm gonna collecting you guys. But does take a lot of concentration to really try to get them all in one swoop. I like that. I was going to be cheap and use the old eyes, but we'll just make some device transform tool. We'll just go crazy and not resize them. Not do the opacity thing, which is to just make sure that she's looking at camera. Looks good. That looks good. I feel like she's looking at she's looking at me. I'll go ahead and merge these together. And I really like, I love the way this looks with the sketch in the background. I really love sketching. I really loved doing the line work. I like the way it looks with that color in the background. You can actually bring the opacity up a little bit, give it a real cool sort of sketchy drawn vibe. Dig it. 14. H2 OUTRO: We did it, folks. I hope you guys enjoyed it. I hope you had I hope you've learned a lot. I don't want to repeat everything that I repeat any other videos, but honestly, I think that you guys are doing amazing and I can't wait to see what you guys have created. And if you did anything different, we did everything that's same. I just can't wait to see what you're doing. It's a treat to teach you guys. It's treat for me to learn how to teach you better. I love it. And I love my students like I, I, I, I don't know, I get really excited. I get really excited to make new classes and kinda see what works and see what doesn't work. And this one was pretty much just a flow like this is how I figure out things like I'm not, everything is imperfect, perfect like I make mistakes. So don't ever be afraid of making mistakes or thinking that you have to be perfect. Trust me, there's no artists out there that are perfect. Like you might see catered stuff, might not catered kid is not the right word. Tailored things on Instagram and YouTube and all that stuff. I tried to do my things tailored as well. But it also, you have to really show messing up in the real, the raw side of artists. Whether they'd be beginners, good, bad, trying to be better, trying to be the best. Everything, everyone's going to mess up. It's always going to be difficult. At times. That's the appeal. Like you want to constantly work, you want to constantly strive to get better and to do what you do and figure out the kind of art that you like to do. Whether it's one thing, five different things like me, I love doing 3D, I love doing all that stuff. So it's really nice to actually do this and teach because it sort of helps me out, like I had to learn how to do things and then how to communicate them. So it's been, it's been really, really great. And I love the feedback. I thank you all for that. I thank you-all for taking all of my classes. It means a lot to me and I really appreciate each and every one of you. Some of you talked to me on Instagram and YouTube and messages and stuff which you have questions or issues. Feel free, please feel free. I'm here to help you out when I can. Of course, I'm on Instagram drug-free Dave, drug for Dave 3D is all of my 3D stuff on YouTube. Youtube.com slash strophe. Dave, tick tock. Tick tock is a big one. I've been having a lot of fun on tiktok, so please add me there. I feel like Tiktok is replacing instagram, Facebook group procreate tutorials and guidance on Facebook. And I think that's all of my socials. I do also make like cute little, I make like cute little animations with all my socials and stuff. I do all that in iMovie on my MacBook Pro. Like I don't have, like, I don't have super, super serious technology. I've come a long way since 2020 when I started doing all this stuff. I've come a long way, but there's a lot you can do with a little and it's just working step-by-step to get better and to move forward and to just build on everything that you're learning day-by-day, step-by-step. So I think I'm gonna let you guys go now and sometimes I just get carried away talking to you guys. I really appreciate it. Keep drawing, keep sculpting, and I will catch you all. Next video.