Hey there internet! Sal Good Sam here with another video from my introduction to cartooning class at Sin Studio. Check out sinstudio.ca to sign up for the next semester that if you're interested. One of the things I sign in the class is to do studies of several iconic, memorable cartoon characters. And what we do this is to reverse engineering the character. Those cartoon characters, especially some of the most iconic ones, are built on underneath at all a constructive system of building up the forms. So one of the things I assign is for you to take your favorite cartoon characters, get a couple drawings of them, and try to deconstruct those forms. At least once, like I'm doing in this video, I just recommend getting some thin paper and tracing directly over a large copy of one of the characters. Just to work out the forms, the portions very precisely. You're looking for the structures that the characters used and just trying to decode their system a little bit. If they've ever posted how to, then look at that, see how they built their characters. You may draw a character with a very gestural freehand style or the rest of the time, but when you initially design it, it's almost always got a constructive underlaying codec. So once you've done that once, take the reference material, put it just off to the side, with insight, but not away yet, and repeat the process this time trying to follow the patterns you found in terms of building up structures, the round shapes for the head here, the kind of egg shape for the torso, the seat, the sort of a muffin shape, the simple two-black arms and legs, and the shape of the dress, the book. Whatever it is relevant to the cartoon you're doing, you're going to repeat those forms. You're going to play a special attention to portions and scale. And then I recommend a church just finishing with a soft pencil, as is a tube to be led. And you're emulating what you would do in Inking, but don't worry about Inking just yet necessarily. It's less you think it out and you're going to race you to make a mistake. So it could be a sort of proto-figure out of the Inking style. Bush Miller, herni Bush Miller, who designed Nancy, worked with a very constant line, and it's thought that he probably used something like a B-Nib, which is a type of nib for lettering, gives you a line, the same width in all directions. And to emulate that effect, eventually when you're doing this, you should either use a B-Nib or use something like it. And the later version, the reason he's felt it, and it can be a very consistent line. So you know, it's too so far. You want to do this several times. Not necessarily one sitting though, I recommend, as I did here, sleeping on a furt day, and then returning to the character and do it again, follow the same constructive system to build up, like I'm building up Nancy's head here. I decided not to draw the entire picture of Nancy again, but I did redraw the face one more time. In the pencil stage, and then I decided to pick up a different panel with the same character and another character, and Nancy is not in the same position. So once I finish this, you'll see I start drawing from a picture of my phone again, it's a panel from a Nancy comic of Sluggo and Nancy standing in some snow. And it was a profile, so I could sort of try to figure out how the system that I had figured out from her structure of her head worked in profile. You're looking to learn from this process, understand the characteristics of work and why they did things. So, within reason you want to get as close as you can, we're not necessarily trying to create four degrees as a fool anybody here, so if you don't achieve perfection, that's okay. Mostly just trying to get as close to honoring the spirit of what they did. If you can manage a high level of precision, that's excellent. But this isn't as much of a worry. So here I'm using a favorite kind of cheap filter pen. I don't remember the brand right now, but it's pretty affordable and makes semi-stable. Definitely not as good as the permanent pig and pen I use, but it's got a nice wide tip and it sort of will suit to the scale of the drawing that I did here. To match the kind of lines you see in Nancy. Notice I use a very constant line. The video is sped up here several thousand times, but you can see that I don't do a lot of sketching. Unless the line is sketching the finished work, you don't use sketching. I'd fill in the blacks with my Pentel pocket brush and out of your or snow. And I start another head and you'd want to just keep doing this and that's basically the best way to master cartooning. If you're interested in joining our course, look up sinstudio.ca and Introduction to Cartooning with Salad Good Sam.