Line Art Like a Pro in Procreate with Drugfreedave

1. Line Art like a Pro in Procreate!: What's up, guys, Welcome to another Skillshare class with me. Drug-free day, aka Dave Reed, make a drug for Dave coming to you from Brooklyn, New York. And we're gonna go back to basics. We're gonna do a procreate class, a Tuesday class, but we're gonna, we're just gonna do some line art, some outlining. I love 3D and I loved doing 3D and I'm gonna make more 3D classes. But you have to remember the fundamentals. It's always good to go back and keep up with the drawing, keep up with the line work, things like that. It's very important to sort of keep all your skills. Because if you don't do it for a long time, they can sort a fade away and they can be more difficult to get back into. Should you need to go back to drawing or want to go back to drawing? I created my own brush called Disney ink from the ground up from scratch. And it's pretty much for my style of drawing, for what I like to see, the type of artwork that I'd like to see. So I designed it specifically. And I think that you'll like it too. I'm going to show you all the tips and tricks that I do when I'm doing mine work because I enjoy it now used to be a point of contention, but now I enjoy the line work and I think you'll enjoy it too. So if you're looking to get better at your line work or just brush up on your line work, then you're in the right class. You're in the right place with the right teacher. Alright, there's not that much more to say. We're gonna do a dragon. I sketched a dragon out, have some other sketches so you can practice some more line work. But we're going to work on this dragon. We're going to line them up the line you're gonna be nice and crisp and sharp, and flowy and heavy where they're supposed to be, thin, where they're supposed to be. And I'm just gonna show you everything I know because that's how we're doing it. Let's move on to the next video. Class project. 2. Class Project: What's up, guys, welcome to the class projects. So I designed Disney ink and actually all the Disney style of brushes, but specifically Disney ink, because when I do my characters, I loved to sketch them. I love them to look sketchy. Look sketchy, but I also like to line them up. This brush made it fun for me. That's why I decided to sell this brush and to do classes like this and videos like this, kind of showing how to use my brush and just how to do line work. In general, there are certain things, there are certain fundamentals of line work that I sort of go through. So we're just going to do line work on this dragon. There's some other sketches that I've included. So you can practice on those as well. And then when you're done, you can, you can upload any of them to the class projects. I'm looking forward to seeing what you guys do and then use this for all of your line work if you need to let me know what you like about the brush, what you don't like about the brush. Later on. Also, if you have any issues, let me know trying to download the brushes. So essentially the Disney style brushes, if you're on your iPad, just download them. And I think if you try to open them, they'll open directly in procreate, but I think they just automatically go to procreate. So you don't really have to do much with that file. Since it's a Procreate file, it knows to Open in Procreate. So as long as you can get that file to your iPad, you're good to go. There's also lots of other brushes. I use Disney I think it's Disney sketch light. I think it's tasting sketch light. There's Disney sketch light. I think it is. And that's what I used to do all my sketching. It's super rough looking. Disney pencil. If sometimes if I do a rough sketch, I'll use Disney pencil to go in-between to clean up my rough sketch and then do the line work over that. But we're just going to jump right into the line work because, why not? Let's live dangerously. Also, my canvas size is 3,500 by 2000 pixels. And that's mostly because I just wanted to stretch the whole size of the iPad so there was no like black on the edges. If you want to just make a canvas that same size, that way everything will work exactly the same. But I think that's about it for the class project. And I think too fancy. We're just gonna do some really cool line art On a really cool sketch. And hopefully you'll just have some tips and some tools moving forward. So you can just create really cool line art because it's fun and that's what we're here to do. Make art, make really great art, have fun and learn. So let's move on to the next video, getting started. And we'll get started. 3. Getting Started: Alright guys, so here's our little dragon. And he is a rough sketch. But that's intentional because there's always a lot of problem-solving and decisions you have to make when you're doing line art. So of course we're gonna be using Disney ink. So Disney ink, I'm going to use probably around five. I think five is good for this. Because I want to be able to go really thin and really quite thick at the same time. Alright, so we have our little dragon on one layer and we want to bring down the opacity of it to maybe around, maybe even 50 Algol-60, just so you can see it more clearly on the camera. But probably is 50 is fine. You just want to make that lighter. And then of course you want to make a new layer above. And we can change the name of that layer to outline. Now we have our outline layer. So the main thing is the line weight. When you're seeing this, obviously this is made with one stroke, but we have to do sort of the, the outline of the outline. So e.g. I'm gonna do pretty light. And then then when I come around, I'm gonna get a little bit thicker. And I'm going to get light again as I bring it back to there. So there is a lot of control that has to happen. And that just takes a little bit of time to get used to. Same thing with here. I'm going to start at the right, at the bottom. I'll go up. And I sort of press a little bit harder when I get to the areas that are thicker. Like so. So just remember that it will take some time for you to sort of get used to steadying your hand and going smoothly. And things like that. Other brushes set up to have some sort of have a tolerance and to sort of smooth things out a little bit, but not a lot because I do like a lot of movement. So in smaller lines like this line. So this is a prominent like eyelash, but this isn't. So this is always going to be a little bit darker, a little bit lighter. And also one thing to note when you're doing your lines. When you're doing your rough sketch, you want to make sure that things are fairly even. You know what I mean? Because things like this, this line is here, this line is here. And I'm a little off because this was way up here. But that really wouldn't line up too much with this. So that's why I made it a little bit lower. Because even in this stage, you always want to be problem-solving. I'm going to continue this line. A little bit thicker on that, on that knows. Same thing here, a little bit thicker like that. And there's also, it's also sort of tough to figure out which lines to go over and which lines NO2. I might not do these lines because they might just be, it's more of a plane. It's more of like a shadow, like a light change. That would be the same color. It's not really a contour, you know what I mean? So you have to have to sort of figure out which lines are best to be drawn in and which aren't. Because you don't want to have too many lines because you want to keep the face clear and fairly flat. Not enough flat but just not cluttered with all these lines. Like if I was to follow this line, like it might look okay, but I think it might just take away because this black is so dark that it really just has to be outlines. This is the nostrils. And then we'll lightly come down and do a little bit thicker here. And actually this whole thing can be fairly thick. Because the mouth is, a lot of it is where you want to draw the eye. You want to draw the eye to the mouth, the eyelashes, things like that. Fairly dark there. And then there's the teeth. Normally if I was coloring this in, I wouldn't outline the teeth. I would just draw the teeth in white after the fact. You know what I mean? So I might do white underneath and make this shape and make this shape and then make this shape. But then in my later on on top, go over this line because this tooth would be over, it wouldn't be behind this line, it would be over this. So teeth are very tricky. And my advice would be not to outline them unless you really just working with outlines. So I might have, I might show you how I would add them a little bit later on. Essentially it would just be very thin. But you have to be careful with aligning teeth because teeth can look really bad really quickly. So this is the same thing. This is the opposite end of the mouth. Alright, so let's do these lines here. For the bottom part of the, I didn't really light and I did separate these lines, the line underneath and the line here. Alright, so let's too, these are more contours, so those would be fairly light. Maybe we'll do like a little little fold there. I think those are horns. Horns, so I just extended that. And then we'll go out from here. Now that was very important. And if you notice, I came out and I sort of picked up speed a little bit and then I just heard a let it off and whipped it off. That's how you get this. Nice. And here. Also, you also have to, when you zoom in, it's always going to look like this. That's normal. Unless we were doing vectors, it's not going to be super, super clean. But this is natural. Withdrawing if you use a pencil and zoom in, it's not going to look pretty when you get down to a certain point. And that is not always a bad thing. So now I have this horn here. I don't have the information here, but I have this information. So then I can just use that to sort of make a similar thing. And then I can make that other horn. That's the other side. And notice as I was doing it, I felt like this was too shallow. So I just kinda did it a little bit longer there. Maybe even that maybe this would continue down to go underneath the chin. Started out and then it will really light here. Isn't that kinda goes off into nowhere. And lines don't always have to connect. They don't always have to connect, so don't always connect them. Now, ears, I might do more of like a tiger is kind of like ears, maybe something like that. So for a lot of times, for years, I just do this. And then I make that little curve like that. So it looks like, it looks like it's curved. So that's a little trick that I always do. You can put little hairs inside if you want, you know, things like that. Feel like that would actually look nice for air or a little character here. So I can either draw it again or I could just erase this one. And I could use my ribbon tool, select this, and then just bring it down. I'll turn Snapping off so I can move it freely. Something like that. Okay. So now let's do these curves. And curves can be kind of tricky. But one thing I want to pay attention to is I have these wings here. So I want, just want to make a little bump so that the wing is like coming out or something like that. Now we'll just make these lines here. And that's pretty good. And lines like this or like curves like this or are difficult. So if you can't get it like this, maybe, maybe it's easier if you start from here and go up. The only thing that I can say to really make that easier is don't try to use the weight of your hand on your iPad because you have to just kinda glide your hand as you're going. You know, I'm not always trying to move the pencil independently. Sometimes I'll just plant and then I'll just use my whole hand to draw a line. And the only way that you'll be good, be good at that is you have to have enough pressure on the Apple iPad. But then also like a balance so that it just glides. And it's your whole arm back from your elbow. It's not rather than this. So that's another really important thing about doing line work is sometimes when you have curves like that, you have to kinda just do them in like one movement and like not even move the pencil. And this difficult, so give yourself as many times as you need until it looks good enough. That's another situation where I just kinda had to do the same thing. I was running out of space. So then I just had to drag my my hand back. But there's no shame that I was able to get fully with my hand. So that's that's alright too. There's no shame in doing blinds over and over again until you get it right. Don't think that you have to get it right on the first go. So these wings, you can see these at all. These are the fingers. So if like wings are really like fingers with webs in them. And there's another one here that I forgot, so I'm just going to have to make that one up. But of course we just want to go with clean lines. Go here and loops. And to make these, to make these spokes. I think I'll just go really light. Something like that. 4. Lining Up: So something like that. And these lines are really light. Obviously this, this might be a dark wing anyway. But I want to match this where the work comes out of. Here's another little trick with the wings. If I was doing this in 3D, I would do the wings symmetrically. So the same sort of goes for this. So I can just take this wing and then just paste it here. And since the wings are sort of pointing back and generally the same position, you probably won't be able to tell the difference between the two. So I'm just going to use my ribbon. I'll take the wing three-finger swipe down and then hit Duplicate. And then our position, this sort of like I have the lines but I'm going to make it smaller because this is on the other side. So, you know. So like with foreshortening will make that weighing a little bit smaller. So let's look a little bit further away. Now let's do the hands. We can go ahead and merge these down. So for the hand you see the palm of this circular palm. You have his little fingers here. Whoops, I'm using the wrong brush. Here we go. So I'm just going to start with these because these are in the front. So something like that. And we'll do the little thumb. It makes it easier than I did these in the front because now these other lines, and notice how this is in the front as well. But it's in the front of the arm, but behind the poem. So now this line will connect there and see how this is smaller and this connects. So it's good to have the things in front to do those first and then work your way backwards in this space. Now, do this nice curve. Then we have this, we want to do this. That looks okay. Could probably just do a line across, line across both of them like that. It looks okay. So now we wanna do these connecting lines. So I would just go around here. This is most likely going to be his is underbelly. And when I do the rough sketches, I kinda I'm not do them very rough, but I tried to just show what's going to be like the underside. So the underside would be here. And then it's like it would be facing down here. And then you would see it again here. Then it's facing down again. So let's start with this line. And we'll bring it down to here. And this can be fairly even, doesn't have to really change shape, change size too much. We have his little feet, these over here. So these are very, they're very stylized and I want to just do the shapes. So you see I have this line here. Oops. I'll do that one first. And then we have this line looks like it comes all the way from there and it goes around. The only thing I don't like about this is in the drawing there a little bit more even. So. Let's do that. Feels a little bit better to me. See how they match up a little bit better. Okay. For these, I'm just gonna do the shape of the foot first. I'll worry about the other things later. There we go. That looks okay. I see. I'm more concerned about the shapes, not really even the shape of the foot. See how we have this teardrop here is this shape. I'll just do the shape of the foot first. And then I'll do the shape of the leg. But keeping them all clean. So if this is the these are the two legs. So the under part is always going to go underneath the leg. So I'm just going to start back here and then I'm gonna go all the way up, even though I don't really have that information here. But the under part will always go in-between the legs. So I'm going to start here and I'll go up like that. Okay, so here's where it gets a little bit tricky and a little bit difficult to do. So we'll have to do these probably in sections. But notice how I'm putting it all the way up here. So I have a lot of real estate with my hand. So I can go like this, drag it out, I can probably stop here. But if you want to challenge, see how much of these you can do. Again, you have to just work with the information that you have. So this is how I would do it. Let's start here. And it's okay if it's a little thick. And I would stop there and that'll be a good place to kind of take a break from that line. Can do these. Then I would start here and go all the way around. And I was using mostly my hand there. But you can see it doesn't feel like it's I I kinda did it a little bit too shallow. I want it to be a little bit more round. But also I have to make up this information here, so it has to go down and then follow along here. I think that would be the nicest. Let's start here again. I raised my body up and my seat so that my elbow and my arm is nice and light. And then I'll try to bring this all the way down and all the way through. I stopped and now I'm working with my hand, my fingers. So I brought it around with the arm and then once I got here, I had to stop and then just use my fingers to round this out. And again, it's, it's pretty difficult. I'll just try it again just so you can see how I work. And maybe I'll actually just bring this out a little bit. So you can see a little bit better. See if I can turn on a light for you. Excuse the mess on the on switch and this light. Okay. It also helps. Another thing that helps is picking up speed. So that's another thing that you can practice is picking up that speed. And if you do it at much of time and you can't quite get it, keeps doing this. There's a cheat. You can go into. Here, adjustments, use Liquify, make it a little bit bigger, and then you can just pull this out. You know, something like that. So don't be, don't think, don't be afraid of using the tools to get things exactly how you want them. That's what the tools are there for. You just have these little these little pumps to move. We can do this. Maybe I'll try to finish off this tail first in this video. To be careful. Sometimes hit undo by accident. Then we have this here. This can be the underside as well. Let's see. The underside goes under the leg. So it might do something like this. And let's start with, let's start with just the outline. See if we can finish off this tail. So I do something like that and then I'll maybe do the underside as well. Loops now is a little off. Maybe something like that. Then we'll do there. So you notice that it's not perfectly defined like where the underside is. But it looks beautiful. And that's, that's, sometimes that's the beauty of 2D. You don't have to define that now if I'm doing it in 3D, I have to define this. But it'll be easier because I'm using a whole tube. And a lot of this stuff will just develop on its own 2D. You can cheat a little bit. So let's make that. So let's go ahead and make the other hand. I might actually want to bring the other hand down a little bit. As you can see, I do. I make changes to my, to my sketch. If I if I feel the need to, I'll just show you guys, you know, when I come up with I like the general shape. But sometimes what, what causes an issue? I really have to show where that poem is, the flat part. Something like that isn't, that's a little bit better. Maybe a little bit of curve in it. I kinda like that. So that's a little bit better. So I'll go back into outline, switch the color back, and then go back to Disney ink. And for my skip fruit for those, I was using Disney sketch light. That's what I used to do all my rough sketches and things like that. Now, I can go ahead and make these little thumb, this finger to the rest of the poem. So something like that, I think is pretty good. 5. Detailed Line Up: So next we can just add these little details. She wants me to be perfect. You can just hold the circle and it will make a perfect circle. But I don't think they always have to be perfect. And you usually, most of the times you may not have to even draw these and this is kinda like the teeth. You don't always have to put them in. So we have those, we have these little pieces which are just fun, decorative and come up with other ones you can make like hearts or you know, whatever you do, whatever you'd like, stars. I think that looks kind of cool. You can always kinda give him some proper Segments, some proper dragons segments like that. One thing to note is when you're doing these, make them, you have to make them so that they coincide with, with the body. You know what it means? So here there are sort of on an angle. Here they're sort of run an angle as though like if this is the tail going down. So I'm sure we're going to follow that logic. Continue them down a little bit more on an angle. It looks like, it looks like this is the bottom. So for here you can see the tube is going like this or the bottom of his tail. So I might do like this. And like this, is this, something like that? We could even put some more of these back here too because it'll now for the teeth. I do all the little details I did. For the teeth. You can always add another line on top. So then first we'll make this part of the teeth. So the upper part, that part is fine. But for these, so let's make this line. We want to try to do it fairly thin, gold like that. But now he has this other tooth that would go over that line. So this is the reason why I did it on a separate layer. Because now I can go down to the outline layer. I can use my erase. I can erase this. And then you have the tooth perfectly where it should be like that. And since we're doing the little details like that, we can go back. And for this line maybe it will make it really small. Like I might even go down on the brush. You can do something like this. Or you can do something like this. Depending on how you want that knows to look. And also to under part might come underneath and around the mouth. In which case you can sort of use this as a gauge. You can use this what I did when I, when I sketched it and do something like that. But then also remember you have to come off and come around that side as well. But I think it looks great. And for the eyes, I'm gonna go ahead and merge. Merge this down. So now we just have our outline layer. For the eyes. I would do a layer underneath depending on how you want to do them. If I'm gonna do them like this, obviously this is just quite simple. We just make our little plus shapes. So something like that. You can go ahead and you can duplicate it and bring it over here, make it a little bit smaller. You can do something like that. But the great thing about having them will just merge those two plus eyes is you can then change them. So say you want a different I want to circle. You can use happy circle. And also notice I didn't do the eye there again. You can do that and then use ribbon to adjust. But I just duplicate. And then you can bring this one over. And then you can adjust it until it's perfect. Maybe I'll make it a tad bit smaller. The only reason I'm making it smaller because it's on the far i but it's only slightly further. One thing that I know that I do as an artist, I tend to draw this. I a little bit smushed. I'm going to take liquefy and just stretch. Whoops. I'm gonna go back to the line layer, the outline layer. And just, I'm going to go back to liquefy and just stretch this up a little bit. It's good to know things that you do like, I know to look out for it because I just tend to always do it. So it's good to look out for those types of things. Then then this I might Which one is it? Okay. It's that 01:00 A.M. I bring it up a little bit because the main thing that I tried to do with eyes is you want to match the amount of space between here and here. Because it will look funny if one eye is, has little less space. That's what makes it look weird. So you wanna, you really want to match this space in the eye. It's very important. If you can't, you might have to open up the I like I just did when I stretched it out. Let's look at it without so here's our regular line work. I think it looks really, I think it looks really good. If you wind up coloring it. Eventually just do a speed through of coloring and I'll just go through some quick tips. I don't like to use any tools to color it and like any shortcuts, I literally just take a layer. Obviously I'll just call it color. So I'll just call the layer color. And I'll take a random color and I'll just color the whole thing in. Like I literally just start from anywhere. Oops. Let's go back to irregular. Might use, use Disney butter. Then I colored them in like this. Because when you go in, I'd like to get everything cleaned like that. And sometimes when you use tricks to color them in, it doesn't always, it doesn't always feel the way I want, the way I want it to. So what I like to do is make sure that I'm covering each one of the outlines. So I don't have zoom in and you have areas like this. I like to make sure that all of that is colored. So essentially clear the whole thing. Now, once you have everything colored, it just makes coloring it a lot easier. You can start with a base color by just using hue saturation. Whatever color you used, you can change. Which is always really fun. I don't know what color we should make him. Now, another really cool thing about the color layer is this is how I do it. I know you can use remember what it's called now? Clipping mask. I like my video, say I hate clipping mask. So what I do is I just hit Select. So I hit select on this layer. One thing that's important is when you hit Select. This is very important. I'm in freehand. You can't be an automatic. You have to be in free hand. If you're in free hand. And you've selected and you see all the little lines outside of what you, whatever you made on this layer. You can just hit Add and those lines and everything are still there. So then you can take, let's say we wanted to take this color, but maybe lighter. Let's say we wanted to do like a proper underbelly color, something like that. So now that I have the new layer, and we'll take Disney brush again and then I can just. 6. Final Touches: I'm not going to call it the whole thing. And so let's do this. And basically you just color in all of these lines here. But it's nice because you do have to color in the lines on the green itself. But it won't go out into the vines like here, e.g. so that's another big help. And again, now you have the color layer. You have this layer, which you can now adjust again. So you can do different, different colors. And then of course, also you have the ability to adjust as you please. I don't know what color I'm gonna make him, but that's pretty much how I do my coloring. I do the same thing with shadows. You can do the same thing. It's select, add a new layer, and then you can do your shadows. I would change this to multiply. And then I would take, if I'm using this color, I might go to it. I might use a use a more red color and then a little bit darker. I don't usually use black. I don't use black. So I might do something like this. You can use, you can use the airbrush or the G brush depending on what look you want to go for. But e.g. for this whole leg, the whole thing in your thinking that's too dark, you know what I mean? Like it seems too dark. Maybe even like all of this. Let's put the shadow layer over this layer as well. Maybe underneath the neck, jaw a little bit. This whole back wing. But you get the idea. There's just kinda separates the front from the back a little bit. But the cool part about this is using the layers makes everything so much, so much easier. You can just take the layer and you can lower the opacity. Then you have like proper shadows just from lowering the opacity. If you think that this is too hard, you can take smudge. You can take Disney airbrush, and you can soften these, can soften the shadows a bit. That also does a lot. E.g. here, it makes it a little bit less harsh. But then also remember you can change the colors of the shadow as well. The color of the shadow also affects how it looks. So just remember that all that makes a difference. Oh, and the last thing that I wanted to show you for the eyes and the teeth, I might just go underneath. And now use white. Can use Disney butter again. So as long as I'm underneath, you can just color this stuff white teeth. And you can go under again and do like a darker sort of like inside the mouth type color. I feel like it would be something like this. Maybe. Because you have to fix up the little details. And last but not least, I noticed I didn't do the little toe beans. So of course you could just, you would just take the color, maybe, maybe darker. And then you can just do them. Make it make that layer. The layer should be over the outlines. Then you don't have anything in your way. You can just make these little cute little toe beans, something like that. And I also like to, lastly, this is the very last thing I promise. I'm actually, there's two more things. Since I've got you here. I like to do a shadow layer over the eyes for some clean this up a little bit. Did a terrible job coloring in these eyes. And it's going way too fast. But I like to add a shadow layer, which will give, give the eyes a little bit of depth. So I'll just take black or a dark red or whatever. You can bring this layer down to like 35%, 40%. And then you can just go like this, something like that. Then as long as you're above the eyeballs, you can use white again. We can use Disney butter. And we just do a little bit of this already, give it a nice little glare. So this is a quick and dirty on coloring because I'm not and I'm sure a lot of you want to do outlining and then color. This is how I, how I color stuff. And also very important. You can change the color of the outlines. That changing the color of your outlines changes every like, I think it really makes a big difference in your art. So you can change the whole color of it. E.g. you can just tap Alpha Lock like this, and then you can go to your hue saturation. You might have to like bring up the brightness a little bit and then bring up the saturation. And then you can adjust the colors. But you kinda want it to be close to whatever the whatever the color is, you know what I mean? So maybe something like that, make it a little bit lighter. So you wanna be close to the colors. Even this is a little bit better. And then did the only thing that I would do is darken up the eyelash and the mouth. The lines that go underneath the mouth, like the lip, I would make those black. That's the only thing that I would change. But also, let's go back to regular black. Once your outline layer is Alpha locked, you can just take this color, which is what I usually do. I take that color, I'll make it a little bit darker. Then I just go in and manually just the lines and just coded them in darker. And that may not be dark enough. Something like that. That's a little bit better. So now the lines are dark, you can see them. Make this brush a little bit bigger. So the lines are dark. You can see them. You have to be careful in here. I might do these. And then for the other line, I might just dark, oops. I'll just darken this color and do the same thing. But it does require a little bit more patients because you have to really, you just have to be careful that you're getting the right parts of the lines and things like that. But again, I always leave this black and I leave this line black. But it really changes the look. And I personally love to color my outlines nowadays. I just don't really, it's just my aesthetic, my aesthetic. I think black outlines really kinda they're a little bit too. I like it. I'm more of a natural look. So anyway, yeah. So that's just a quick and dirty on coloring. Please leave a review if you've found this useful, or if you just want to say hello, please upload to the projects and resources. I can't wait to see what you do this, but also line up your own stuff. You use the brush and line up your own stuff and practice, upload. Anything related, anything you want to show, cool things you're working on. But please rate and review. It helps me, helps the class, and I would really appreciate it. But again, I appreciate your time. I will see you in the very next and last video. 7. Thank You!: Alright, welcome back guys. Thanks so much for hanging out with me in drawing with me and doing some line art with me. I hope you learned a lot. I hope you are taking away all that you can from my classes. You know me, there's no such thing as like stealing, like take all the tips are the tricks, everything that I do, anything that you see that you like, use it, use it for your own art. That's how we all get better. That's all that artists can do is draw from no pun intended. Draw from things that they like that they think are beautiful, that interests them, that inspire them. Take that, put it in your own stew, stirred up and then make your own stuff. So don't ever feel like you're stealing something or that you're cheating by using tools and things like that, because you're not use all the tools that you can use, all the knowledge that you can get better. That's why we're here and that's the only thing that's going to allow you to get better is to not be in the mindset that you have to do things one way or do things a certain way to be valid. So just make sure that you're in that mindset. Just, just keep moving forward and take what you can from people that you feel are more knowledgeable or just people that you're inspired by and you like what they're doing. That's what I do. I just figured out, you know, when I, when I see art, when I see things on Instagram or whatever it like, I screenshot it like I just save it. I see a beautiful piece of art work or I see something out. I take a picture of it like I save it. And then later on I'll look at it and say, why do I think this is beautiful, like what's beautiful about it? What is it that this person is doing that maybe I should do, or that I could do better. And this is a constant thing in my head. This is a constant thing that I think about. This constantly. It persistently pushes me to get better and pushes me to learn because I know I don t know everything. I know that I have a long ways to go up well for certain aspects. But the one thing that I do know is that there's a lot in the artwork, in the art world. So like I kinda have to dial into the things that I really, really like. You know, I can incorporate a lot of the other things. But it's just good to focus on things that you really like, things that you really enjoy and things that you really think are beautiful and pleasing. Because that's what, that's what's gonna be the most gratifying for you. And for me, it's line art. I liked him in line art. And rather than just record, just do it and record it or do it and not record it. It's fun for me to record these things and talk about my process. I kinda learn a lot. It helps me slow down and really just learn a lot about why I'm making decisions. Because I tried to explain everything. So hopefully that comes through in the videos. Hopefully. You guys kinda get it and you understand where I'm coming from. But yeah, I think that's about it. I don't want to keep you guys too much longer because I because I can talk. In real life, I'm a quiet person, very like sort of mellow person. But when it comes to art and it comes with this kind of stuff, I'm super passionate about it and teaching, I'm super passionate about it. So please do me a favor. Just write me a little review. Let me know what you liked. I guess let me know what you didn't like to, but hopefully you enjoyed it. And just yeah, rate and review. That's really a big help. That's really a big help for my channel and for my whole Skillshare thing, the algorithm, all that stuff. So please rate and review and let me know what you think. Of course, tag me on social media. Everything is drug-free, Dave? Youtube, TikTok, Instagram, all drug-free, Dave, Facebook as well. But yeah, if you tag me on Instagram, I love to share your work. If you line up other stuff too. You know, I'm always happy to see it. I am proud. I am very proud teacher and I will do my best to hopefully see if you tag me and share because I love sharing my students stuff. So, but this has been this in so much going on with like YouTube and Instagram and all this stuff. And it's really hard for me to keep, to keep up sometimes because you have to remember to take time for yourself until I relax and get away from social media and get away from all that stuff as well. So you just have to find a balance. Because social media is good. You need social media to put yourself out there in the world and get eyes on it. That's very important. But also take time for yourself and do what makes you happy. Alright. Thank you guys so much. I love teaching. I love you guys. Thanks. Thanks for being here and spending time with me. Keep drawing, keep sculpting. I'll see you next video.