Drawing from a reference - Mandril

1. Intro: Welcome to the course, how to draw from a reference photo. My name is Tessa, her needs and thank you for tagging along. In this course, I will run you through a myriad of subjects in a comprehensive way in an effort to help you to not get overwhelmed by drawing an image from a photo reference. We will go through the whole image step-by-step. So in the end, you will be able to do something similar on your own. We're going to draw our semblance of this colorful mandrill. Bots will do so with a mirror tool. This is not an animal portrait that needs to be 100% accurate. We're just going to have fun and make something that looks really appealing with this time-saving tool. This course is made in Photoshop, but you can take along with any other program of your choice as long as you have a solid understanding of the program. This course is on an intermediate level as it requires some understanding of art fundamentals. But if you have the patients and are not too hard on yourself, you can tag along as well as the beginner. In the attachments. You can find the reference image as well as the life, the legend, Art Peck. Both can be used to draw this image. The brush pen, you can use anything you like with also when the drawing is intended for sales. I also edit the primary brush I use, which is the pebble brush. It's unknown who made this one, but you can find it in many aspects. In this course. Specifically, we will be mainly using the pedal rush, a default soft brush you can find in any art program the life to legend ticking for, the life to legend frizzy hair and your favorite hard brush. So alleles about me. My name is Tiffany diamond, concept artist and illustrator from the Netherlands. My specialties are creature design, character design, and prop the sign, both in concepting and the final rendered illustrations. I run two companies, tests, Art and Design and lifestyle legend. The first of which is focused on concept art flourished for a myriad of different projects and people like writers and movie directors, as well as individuals looking for things like animal portraits and a couple of collaborations with other artists. Live to legend is fully aimed at artists. The course you see here is one of the products of this initiative that I also offer over paints with feedback. The website itself is packed with informative and inspirational blog posts and prompt generators for both creatures and characters. I managed to put this all together with the help of the Austin community that surrounds life to legend. But anyway, enough about me, I'm sure you're eager to start drawing. So grep your tablets or drawing pad and open the program of your choice. I recommend that you listen until the mirror tool chapter. If you're not familiar with using grids or the mirror tool, that you can pause the video whenever you like. It's not uncommon for artists to take 8 h or longer to finish something like this throughout the course, I will speed up the video wherever I can for your convenience. 2. How to sketch accurately: Feel free to open the program of your choice. We're going to work on a canvas of 60 by 80 cm or roughly 24 by 32 ". The file type I said on RGB and 300 DPI. Most computers can handle this with ease. From time to time. It will be speeding up the video a bit so there won't be too many verbal pauses. Don't be discouraged if you can't keep up, It's not unusual to take eight to 12 h to finish something like this, especially when you're really new to it. There are several ways to get your first sketch on my Canvas. One of which is using grid lines and other ways to freestyle it. Shapes like circles or blogs or to trace. I decided to free hand in it, but later overlay my sketch with the original image and see which parts were really off and correct just that. As you will see, I decided to stick with a slightly different shape in favor of a perfect symmetry. Arguably, you wants to avoid tracing and favor free signing or using shapes. If you're new to this, you might want to trace to make life a bit easier for yourself. However, you don't learn much from tracing and I highly advise against it because committing plagiarism that way on this piece with this image however, and students, you do yourself and don't intend to sell, it's not really a problem. Just keep in mind, that's not the best way to learn. Drawing. Using grids can be a good solution to bypass this and will also help you learn curves and shapes better. The downside is that your lines will feel somewhat fragmented because you work from grades to grid. It can also be a bit more time-consuming, but I would always favor this over tracing. In this course, we will read your linework off through the initial sketch. So don't worry too much about how neat your initial sketch looks. We will rework it later anyway. We're not handling the use of shapes to sketch out this drawing, but if you're already familiar with it, feel absolutely free to do so. 3. Using grids: To help you on your way, just in case free handing is too much, but you also don't want to trace. This is how grids work in Photoshop. You go to View, Show grid. As you can see, there are too many blocks now, in my case, it would be far too tedious who work with something like this to edit your grid line. You go to Edit preference, Guides, Grids and slices. You can play around with the color of your grid lines, the distance of your grid, and whether or not you want subdivisions. My settings depend on the size of the drawing. If I were to use a grid, I would use six grades horizontally and vertically. If this is too hard for you, use a soft deficiencies instead, it's due to aim to ignore the subdivisions and use the main grid lines. Only uses tip divisions when you're struggling. 4. Using the mirror tool: The mirror tool is a nice way to speed up your process with anything that can be mirrored. This men drill is a prime example of a good image to mirror. The process is simple. Click on the little butterfly or your task bar and choose vertical. You can move around and change the angle of the line that shows up. But in this case we won't need to as images already perfectly centered. If you do work with a different angle of this tool, make sure you use a lost use option if you're disabled it for whatever reason, setting will stay as long as Photoshop is active. Also, don't be like me. Don't accidentally hit Enter, like you see me do every now and then. It will draw a line on top of the tool, especially with thinner lines. Or when you already started rendering, you might miss this. Undo will not save you after some time has passed, which is annoying. I have this issue where I don't respect the personal space of my Num Lock Enter button, so make sure you don't share this trait with me. It's really not helpful. 5. Refining the sketch: The next step is to refine the sketch. We continue using the mirror tool because in this case, well, it's a real timesaver. I decided to overlay the line art with the image. As you can see, the photos not as symmetric as I thought it was. I decided that I prefer to symmetry my piece. It's not a pet portraits, so it doesn't need to be a perfect resemblance. This is also where you can refine the shapes as well as just see me do some things I make rounder other smart trade to help you get smooth lines. Go to your toolbar in the top and set your smoothing or roughly ten to 15%. I make a habit out of it to use thicker lines for actual outlines and thinner lines to make indications for suddenly changing shapes, like the brows. Overall, I was fairly happy with what I had already. In the end, I take the time to balance out the shapes a bit further so they fit nicely on the canvas. In Photoshop, the hot key to select the whole image is Control T. For just the selection. I use the lesser tool on the toolbar. After you've made your selection, you can hit Control T and you will be able to move around the parks. You select it with the lasso tool. I'd pay extra attention to keep the line are symmetrical, both horizontally and vertically. I was free handing it here, as I knew that the line art wasn't going to be in the final work. But I recommend to do it by using Alt Shift while moving around the corners off the selection until you're satisfied. The tool works as follows. 6. Blocking in colors: Blocking in color, so it's a good way to get everything in place. These colors will form a base for the detailing that follows later. That way you won't have to battle a flat colored backgrounds like gray in this case. And you can instantly fully focused on things like texturing in lighting. I'm always very precise this way. And you should be two in places where two totally different colors meets. However, with similar colors like different tints of red or orange and red or green and yellow. It doesn't matter that much. It can even make for interesting blends later on. For this process, I use a hard brush. I liked the quality of this particular one, which is the atom duff one. It's not in the brush pack because this one was obviously bought from another artist and thus license. But any hard brush for you, we'll do. Remember that you will be removing the line arch later on. So try to do long strokes along the edges so that you don't have to clean them up later. The colors I've picked for this are dark base colors. They are the colors you would see when there's no direct lights presents like an overcast day. Feel free to use the same process of layering as I do to avoid gray spaces between the face and the fears surrounding the face, I add a layer in the back that covers the area in that colour, but it also crosses the edges of the other color. That way the layer on top stays unaffected, but all the colors we'll perfectly meet as well. I like to work with as few layers as possible, so immersed them right off there. But if you'd like to work with more layers, that's absolutely fine. Just don't make it too complex for yourself so you won't mix up the layers you draw on. 7. Refining the first color layer: As I mentioned before, blocking and colors needs to be precise where needed. So you have clear edges and don't need to battle the wrong colors later on. But because they are flip colors, there's no texture. So the next step is to set the first home nations for texturing. Later on. I do this by looking at the actual colors. In the case of these men drill, there are slight varieties in the fur color, as well as on the skin. It doesn't really matter at what kind of texturing you use as long as there is some. As you can see, I tried to color to us, I see it. This also links into the shading and lighting part of it. As I can clearly see whether a specific colors goes by lighting or shadows, or is the natural shade of the coat. I just draw what I think is the base color. The next step is rough lighting and shadow anyway, so we will then continue refining. 8. Shading with multiply layers: I hope we're still doing fine. Please remember to pause when you need to. It's absolutely no problem to hit pause every now and then. As we go, the steps will become a bit more complex. So keep that in mind. Our next step is set the shading. In this particular piece. The lighting is pretty much upfront. So the shading and the lighting is not that complex, but there is some. So we're going to take all that now. In the previous step, we set our foundations for texture, so the final result won't look that digital. Now we want to continue doing that with shading. We already slightly via that in a previous step, we will take it a bit further. Now with Layer Styles, we add a layer on top. The layer style is normal, but the brush mode I use here is a multiply. This multiplayer mode is used to make everything a bit darker. You can set the layer to multiply instead, but multiply on the brush works much the same and allows you to switch between different modes as well within the same layer. Most of the time I used the multiply tool with a soft brush. More often than not, shadows hold very little detail. So using a soft brush will help to soften out the dark areas of the illustration. Multiply it will make everything darker. I used to warm color because the shadows in the photo has warm colors too. I carefully draw in the areas I want to be darker. As you can see, the multiply two keeps the contrasts and textures of the underlying layer intact, but does turn them down a bit. It wants us to cover everything with its own color, like the normal mode does. So there's a bit of texture and contrast shifting left, adding interests in those areas. 9. Lighting and shadows: We already made a good start with shading the larger parts that are in the shadow with a multiply tool. We continue now with the next layer in a normal mode, our goal is to establish the finer shadows as well as determining the lighting. I keep a really close eye on the reference image to see where what goes to what degree. I recommend that you use a textured brush for this face. Again, to stop your drawing from looking to digital, you could opt to continue using a soft brush for the shadows if you prefer a smoother look. But I am using the pebble brush from the brush yet that's included in this course. Well, as you can see, I had the good old Enter button again and had to rework that part. Thankfully, I didn't do much texturing yet, so I could easily get rid of it. I'm going back-and-forth between color and areas. It's easy to get lost in one color and end up with an unbalanced artwork because she pushed the lighting or shading too far in that one area. This phase is meant to balance the whole piece with shadows and lighting and get rid of the line art. For this, I use the color wheel to the left, but I also color pick from the piece where I can ask this gives me different nuances. It also saves me some time. I sometimes zoom in, but most of the time I don't. Details come later, but it can still be a bit messy within reason. We're sculpting here, not rendering. When we're done, we have a nice value range we can color pick from when we start rendering. That way, where we do get lost in the details during that phase. It will be within the value range and won't completely mess up the balance. You've worked so hard on in this phase. And this my friends, is where the magic happens. Flowing. Artists no longer needed. 10. Texturing skin: Finally, it's time to start rendering. Rendering is where everything comes together. The lighting, the colors, the texturing. This is the beginning of the angie could say. It's a very time-consuming face, but every detail you add will finish the piece a little bit more. We have already been using the pebble brush. I continue using it with a lowered opacity, around 70% and around 50% flow. Opacity makes the brush slightly transparent if flow softens the edges of the brush a bit, this is a brush, very textured flow will tone it down. The most texture is always show up between the lightest part of an area in the mid tones. You will see me backtrack frequently. They get that done right. By now. It's second nature for me, but it's very much something to be aware of when drawing realistic piece. Don't hesitate to grab other texture brushes to create some variety. Being a bit subtle about it though, it should add interests, but it only should pull the eye toward it if it's an actual focal points. In this case, it will be around the eyes. Also remember that you are using brushes. You don't need the stroke all the time. You can also dab. Not all brushes will give you different results, but the pedal Rush certainly will. Being aware of the properties of brushes and testing them out can speed up your workflow and allow for more or less detailing, right? Where you want them with the same brush. As I go. I keep refining the piece more and more and only pay attention to colors, lighting, and shadow. But I also backtrack from time-to-time to refine the shape. I don't end up liking as much or didn't quite turn out the way it shoot. You see this mostly happened around the red and blue areas. This is something I can point out to you, but not really teach you how to do just this course. It comes with experience and looking closely at an artwork combines with moving the eye all over both the photo and the artwork. It is all that we discussed so far are combined and being able to see what exactly is off. You can also do this when you're very adept in art fundamentals and being able to fragment that picture in many visual pieces. And not exactly their natural properties. We only make this process a bit easier by fragmenting every step you take, just like we did so far. A good example of this is the gold. We can't draw with golden or computer. We can only create the illusion of goals. We do this by using properties like color, lighting, shading, contrasts, values, and textures. So we need to understand the 3D properties on it. 2d canvas. In truth, we just look at how they manifest themselves on a flat surface. And that surface is just a bunch of different colors we can draw by hand to look like e.g. goals with the help of our knowledge of art fundamentals. So please don't be too hard on yourself if your artwork isn't exactly the way you want it to be in your first few drugs. It takes time to get a good grasp of it, even if you know your art fundamentals. Well. Another tip I wanted to give you is to regularly zoom out. It's easy to get lost in details, and it's also used to be very picky over those details. They don't need to be perfect at all. All they need to do is work out as well. 11. Drawing the eyes: We worked on every piece of the canvas a bit already, but we have been ignoring the eye so far. So this mandrel has a very dark eyes. It makes her process a bit easier. As with white. As white eyes are fairly complex to draw convincingly. We real, however, want to use several layers because eyes are not easy to draw and write. We will be using the following layers in the following order. Iris, pupil shading and highlights. Doing it like this will allow us to move around the iris and the pupil so we won't end up with a squint either. Monkey. Eyes are also very round and glassy, which is why we give it its own shadow layer. That way we can use a soft brush and carefully sculpt the eye without accidentally creating a texture. The same counts for delighting. Drawing it on its own layer means that we can play around with the lighting intensity without risking to mess up other layers. As you can see, I start out with putting different colors in the iris. It's subtle, but it's there. Subconsciously, it will be noticed, but you won't see it unless you really zoom in. I play around with the smudge tool to create some shapes within the iris without making them feel like a texture. The next step is the pupil. As the men rose looking right at us, it's fairly easy to get them in the right spot. If you don't manage, just keep playing around with the pupil and maybe also with the location of the iris and field feels just right. Then we add shadow. This will be right at the top under the eyelid and curving along with the shape of the eyeball. Because the eyes are already very dark, It's fairly easy to do. Just make sure that it looks smooth by using a soft brush and following the shape of the eyeball. The shadow does. It needs to be pitch black. It just has to be there. Finally, we add the highlights will make the ice pop. I started with a light that is caught by direct light hitting the eyeball. Under normal circumstances, this is always from the top down and it allows for a nice pop of color within the iris. For this, I go for a soft brush so I won't mess with the texture of the eyeball. Set the brush mode to Linear Dodge, Add. This brush mode will lighten the color you use with every stroke you put down, combined with a very vibrant colors. If you draw enough layers on top of each other, the center will end up white, while the surrounding area will be very vibrant in color. We won't go that far though, but we do build up the intensity as we go. The highlighting of the top of the eyeball is a bit different. This is usually not direct light. In this case, it's more than likely some windows are reflective surfaces shining into the eye. This means that there might actually be some texturing. As you can see, it looks perfectly fine. It isn't, it looked like the Bible has a texture. This is because we are familiar with indirect light hitting the eye. We know an eyeball is round and smooth, but we also know from experience that the light reflecting on the top of the I can look textured. We may not think about it until we actually draw it, but we are aware of it subconsciously. And you, as an artist, being aware of such things. A lot of power. 12. Texturing fur: Let's have some fun and pull the pieces together. We still didn't work on any other. For first, let's work on the amazing texturing that is surrounding the face of this mandrill. Went out of my way to create custom brushes for it, to make it a bit easier for you to apply it the same way as I do in this video. I'm using those very brushes. You see me mess around with brush directions, but don't worry, I edited the brush off after so that it works in any direction for you. We worked with layers before, but now we will work with two layers at the same time with two very different settings. One is multiply and the other will be linear. Dodge add. We use both layer styles before. Now we're going to use them at the same time. So to refresh your memory, multiply it darkens, but only to degreed depending on the contrast on the underlying color. Linear Dodge Ed, and it's light, also a favorite of the underlying contrast. Both can be built up as much as you want, so should be used with caution. S is step holds a lot of texturing. I set the opacity to about 40 to 50% and the smoothing to roughly 50%. This will using the LTL taking four brush. That way I can take the time to build up the layers and don't overdo it right away. I started with a multiply layer with a dark midtone color. I picked from the piece itself. I at directional texturing. And I do so sparsely. I can always come back and do more because we worked on our shading and lighting before. We do not need to worry much about how much do we need to use this brush in which spots were just working on creating a texture. We're not working on shading or anything like that. That's the benefit of working step-by-step like we have been doing from the start. You just have to think about one thing at a time and sometimes backtrack a bit to balance everything out. We don't have to work on one huge thing with many variables and come to a final results. With a Linear Dodge Add Layer. We do the same. We don't want the lights to build up too much either. I use the same color as before with a multiply layer and slowly build up the texturing. At first, you barely see an effect. But as you repeat the strokes, the texture start to show up slowly. We use specifically this color because it's the right colors to bleed into the shadow area without screaming interface. Because our Multiply layer already Lindsey to this specific color, it blends in perfectly because this layer style builds up lighting, but only where it covers the same area more than once. It adds nicely to the ticking nature of this texture, creating a lot of depth and variety. When I'm done with a layer, you see me going back to the multiply layer and set the opacity to 70% or higher. I do this to add some more texture in the piece as its underlying layer covered by the linear dodge layer. Sometimes you need to be a bit more heavy-duty to make it bleed through, like in this case. Finally, you see me going back to the Linear Dodge Add Layer, but this time with a slightly lighter color just to highlight the upper part of the face. This also helps to bring out the texture a bit more in that area. And like mentioned before, in the lighter areas, leaning to the mid tones, textures will be more visible. The cows for this fear as well. Now this is getting a bit messy. This is going right back to finding a good balance. You see me switching between different layers going back-and-forth between linear and the multiply layer. But they also draw any new layer on top. I do this to avoid the typical properties of the linear dodge add layer in the multiply layer. That way, I can tone down the texture a bit wherever like to or pump it up a bit. It's about half of the time I'm using soft brushes to just that. But sometimes I go read back into the effect layers and work with a ticking sure. Brush. Again. I do the same with a fizzy hair around the neck. We do the X6, same as with the ticking, but as the patterns and lighting are a bit less distinct, We're good with quickly putting in some Harris in the multiplayer layer and do the same with the linear dodge layer. This is where he's looking at the overall piece. I check where there's too much or too little texturing and where the Lighting seems to be off, rework it just like I do in every face. That way we make sure that our P stays balanced. 13. Refining the textures: This is where you start to see why having a good feel for the balance within artwork is so important. Just like we discussed in the chapter, developing an eye for balance and detail. Suddenly the face of the mandrill fields to smooth and I need to go back to do some texturing. I add some more lighting nodes only on the face, but also in the hairline where the main light source is hitting. And I say go, I use several different textured brushes. This is also a good example how art works really are built off. Artists don't always get it all arriving in the first go. We keep going back and forth, reworking and balancing out things. I could have edited the video in such a way that this wasn't that evidence. But I think that it's important for you to see that it takes time and that you don't have to get everything right from the very start. It's absolutely fine to go back to an earlier phase and refine. It will only make for a better piece. 14. Drawing hair and whiskers: Next step, I'm not quite the easiest one. There won't be any specific brushes helping you out here. This is why the texturing of this a little beard is so rough. We need textures and depth vertice and the base we set for this is a good start. As you can see in the reference image, the top part is a lighter than the rest. We want that in our base layer two, but bit more than we see now. So we jump back to our good old Multiply layer for the shadows and add a bit more darkness to the beard with a soft brush and go right back into the long hair layer to add some texture strokes. We don't want to be drawing every single hair, but we'll, we'll need to add a lot of depth. We follow the flow of the Harris. Thus we go in there reference image, the bird goes a bit to the right, so we'd do the same. Those strokes are now a guide for the layers that follow. The next step is to draw with a smaller brush size. As I said before, we don't want to draw every single hair, but we do need to imply that we do. And there's no better way but to do that by playing with brush sizes. As we go, you lose a bit of our depth. That's alright, nothing is permanent and everything can be reworked. You want the base layer to shine through, but it was impossible to get the right texture that way. We end up with a good shape and texture, but the base of the hares, where they come out of the skin looks a bit messy. The reference image, it also shows us that the skin under the hair is darker than the skin above it. So I hit back to the base layer and do my best to work that in. It requires some texturing and access management as well. And going back and forth between the texture layer and the lung Harris layer. But finally it works out and I stick with long hair layer. This is where we want to bring back some depth in the buret. I lock the layer by clicking the Leila grid above the layers to the right and color pick a darker color. The soft brush will then only affect the layer with the long hairs on it and nothing around it. In the meantime, from time to time, at some strands of hair where big gaps show up. Now I work my way back to the shading and lighting. This is also your opportunity to carve out more depth and sculpt the beared by use of large and small brush strokes. Remember to own lock the layer when you add brushstrokes because you won't be able to draw on bars off the layer that haven't been drawn on before simply because this layer is locked. So don't forget to enable that. As mentioned before, the upper part of the beard is clearly lighter. So we go back to locking the layer and use a soft brush to add the light color. The beard is not that texture that we need. The Linear Dodge Add layer for it. So we use the normal mode and then start adding more textures with a light color to create more texture and depth. If you feel like you can use a softer brush or play with the Opacity and Flow for softer brush strokes. You see me doing both. The only logic behind it is that it gives a slight texture difference. After reworking the base of the beard a bit more, I go right back in, but this time to create some loose strands and loose hairs. To make the beard look a bit more playful and unkempt. It may look like Lord, but he still some monkey. I end up with using a very thin brush which represent single hairs. I ran through the same process with a hairstyle the site. These hairs are only a bit shorter. Once I have the desired texture and thickness, I start drawing the more forward facing Harris, I enable the mirror tool again to create a pleasing balance. Let's start to spiritually add single Harris until I'm satisfied. And of course, no mirror tool with a fancy old Mamluk Enter. I take a little break from the mirror tool. And after removing that annoying vertical line, I take a little break from the mirror tool and add some random Harris to break the symmetry of bed, after which I switch it right back on. Do the whiskers. As the whiskers are really prominent. But I still need to be the focal point. I decided to use a soft brush to the whiskers. So the whiskers don't actually write on your eyes are sharp edges, which I disable the mirror tool again and create some subtle asymmetry. I remove some gaps and an overload of hair here and there to balance a piece out again. 15. Refining the artwork: The final step is to do some refinement. This starts with adding some brightness to the base of the whiskers with a soft brush and a lock to layer. It is partially style choice. I love contrasts a lot, both in light and darkness and in color intensity. It's very much a part of my own personal style. And this face allows for personalization as well as reworking a thing or two to balance out the artwork. Yet again, Linear Dodge Add can really be a friend for you in this face. If you use it around very light areas, it will make those areas even more white. If you use it around medium light colors like the base colors, will not only make it slightly lighter, but it will also make the colors pop a bit more. As this piece is very color dependent, it's a great tool to use with the same layer, I smooth down contrast where I think they do better that way. And I suddenly add more textures around the eyebrows and the eyes. In between you see me do a quick touch-up on the beard in the long hair layer with a Linear Dodge at brush mode. I do this because I needed it to pop a bit more linear dodge, add layers under the long hair layer. This brush mode was my little savior for a reminder touch-up. Right after that, you can see perfectly how linear dodge add can increase the vibrancy of the colors within the artwork. Just to double-check and see if something looks off. I pull out the original photo. As you can see, they are very much the same but not exactly. This is perfectly fine in studio like this. Doing this also pointed out to me by using the Linear Dodge Tool, I went a bit too far with the lower parts of the blues. There are now two lights. I correct that and do one less pause for the whole piece. Editing a few minor issues like the absence of some texturing around the neck, adding some whiskers and adding a bit of shadow to the beard to add more depth. 16. Signing your artwork: Finally, it's time to sign your artwork. Wrap your signature or signing by hand either will do just to make sure that you do this before you share it with the world. People should know who it was that created this piece. And it will also make it a bit harder for others to claim. It was their work. You worked hard for it. So you and only you should get credit for it. When you use images from a source like e.g. on splash, you can get free images there. I always recommend to refer to the photograph for, in this case, the image was bought, so it's all fine. The photograph we got paid and it's done. If you use free images, it's just fair to mention the photograph or just as a thank you for their efforts and allowing you to use it the way you do. And always makes sure that when you prepare an image for online display, that it's a small image and no higher than, say, 150 dpi. I'm saying this because it will make it a lot harder for other artists or well, actually pretenders to steal your art or have it printed because Prince need 300 DPI. So please remember to do this so you don't just give away an artwork you worked on for hours. 17. Recap: So congratulations, you just finished the course how to draw a mineral from reference. You should be proud of yourself. This was an extensive course, so there's many aspects to keep in mind. Keep doing students like this and you will only get better. And of course, feel free to use the course as a guide on the way when drawing other images. In this course, you'll learn to get a grasp of different techniques to get the first catches as accurately as possible. Here Canvas, how to use a grid lines and the symmetry tool, shading and lighting, textures, creating depth. Use of different layers and layer styles. Drawing different kinds of fear and hair with and without the help of designated brushes anymore. I hope you enjoyed this course and will join me to do more at another time. Thank you so much for your time and effort and please don't forget to share the final result with us so that we can give you feedback. Have a nice day, keep drawing and take care.