Either internet. So I just thought I would do a very short clip here about inking. Small tip, placing your lines that comes up when I'm tutoring students fairly often. So this is a page from Dracula, it's another dragon I'm working on. Theoretically page 74, although it may actually get changed around a little bit. I'm just on the last bit now down here. But I'm using a mix of brush and penwork. And something that comes up a lot is two tips actually. First one, and I've mentioned this before, this first one a few times, but it's relevant to when I'm the second one. Which is that when you're inking, you don't want to trace your pencils. So one thing I do is I keep my pencil work a little bit loose. Sometimes I'll refine it a bit and these are printed blues by the way. So this has been printed on a jet printer. Do them in rough and whatever media I feel like sometimes it's been and they'll turn them into blue lines like this and print them out. But I'm not going to overwork them or over refine them. Usually because I want to keep things fairly loose and I don't want to waste time. And also because I don't want to perfect it to the point where I feel obliged to perfectly copy it in the ink because I mean if I were going to do that then I would just really refine them in pencil and scan those and make them dark and use those as my inks. And you could do that. But I still like working in ink. But I'll keep these pencils fairly rough. Sometimes they'll go in and you know clarify a little bit what I want to do. Just snap the little point off my pencil there. But on the whole other than like little revisions like that just to clarify lines or like character like this guy this is a likeness of a kickstarter backer who supported the project. That was John Kagan. Josh Kagan. Which was Josh Kagan. And that's another backer and this character here's a backer and so is this guy. These are all kickstarter backers who who plays to be extras. So I'm going to do it with this face too. I'll refine it to get the likeness a little bit more on point. But other than that I want to do a lot of the refining actually in pen. And this is all to say that what you don't want to end up doing is tracing the line because that's when stuff gets overly stiff and stagnant and loses its expressiveness and just doesn't look as good. So you're always sort of redrawing. That said when you're looking at the forms and this is the second point that I wanted to make. You look at shapes you've made and if you are happy with them like say the shape of this shoulder works pretty good or the shape of his shoulder pad there. One of the things you want to do is be very attentive to where you're placing the line. So it's pretty common. I'll see people will pencil something like say a hand and then they'll incase the forms. This is a bent finger. Alright. So I'll use a brush to this point. So let's say this this forms what they want but they'll incase the form and that'll make an unusually skinny finger because they're working inside the line. Usually when you're penciling what you're doing is outlining the forms that you want. So when you ink make sure that you're aware of unless you want to change it that you're working around the outside of the form too like. To make forms that have the mass and solidity that you desire. To get the results that are okay. Right? Because when you go inside again what you do is eat into the space and then they end up too skinny, too narrow. This is really common. So there are times like I just said you don't want to trace your drawing. So there are times where I'm going to revise it. I think I in this case here is drawing of Dracula because John lines a little off so I'm not going to follow that line exactly at all when I ink it. I'm going to clean it up and I might even go in like pencil like this and refine and make a little more square jawed just to basically give myself a note about how I want to change that. His nose is a little too upturned. So I'll often do a lot of little tweaks with pencil like this. Just to remind myself but even when I go to ink that I'm not going to trace those exactly. I want to re-express them and refine it further with ink. So I'm redrawing with ink, not tracing with ink. And then if the forms have the mass I like, especially like something fine like this horses leg, had I inked inside the form it would become a tiny little pinpoint in the white space that essentially describes the interior form of the leg would become minuscule and it would look too skinny. It looked like you have stick legs. So be attentive to when you are inking where you're placing your line. If it's on the pencil line, if it's inside the form or outside the form and whether that suits the goals you have in mind. So for example the shoulder pad, I like the size of it so I might not be inclined to be on and outside that line. So I'm going to build it up. A lot of this armor I'm actually doing it with pen because it gives me a, I use pen a lot for hard surfaces and things that are firm and need that. Sents of hardness about them and then I'll use brush for things like hair because it's really well suited to feathering forms. And then by going around the outside of the form I have the mass that I need for the shapes. So that's it. That's a very small little note but it's a common hanging point for people doing comic art, comic inking or inking in general. That when you go into ink that you are overly loyal sort of to the pencils and trace them and don't improve and refine further which is more than the idea. The whole reason you would do rough drafts, so like thumbnails and then pencils and then inks is to have an iterative process where you were finding the work. If you're just copying what you did in the first time then there is no improvement that's not, that's not what it's about. So always make sure that you're not tracing and then when you do go to ink consider whether the form you have done in rough, it's mass and how full the body is where you're placing the ink line. Typically you want it to be around the outside of the form not on the line or cutting into the form. Those are really very useful inking they'll make your end result a lot more satisfying. If you're doing those two things always trying to refine and watching how you describe the mass and form and the error, putting the line around the outside of the form describing the space rather than cutting into it, you'll get much better results. 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