This pathway roughly falls in the center point. I can draw that little, like, it's not a horizon line per se, but I'm using it like one. It's the top of my pathway. When I'm using a resource, what I'll do is I'll line up my subject, my resource when I'm doing the drawing part of it, and again, the drawing don't stress. Not a perfect beautiful drawing, but I'll line it up parallel. I'll use my brush or you can get these little wooden dowels at any hardware store or a friendmire. I'll line it up. I'm going to use my brush though. I'm going to line it up with the angle of the pots and then move, I've got to be, like, I've got to just move my whole body like this to get the angle right and then decide how far up about a quarter of the way, ish. So I know my line is going to be something like that. I'm going to do the same thing for the other side. So I just kind of do it that way where I'm just measuring relative angles, trying to figure out where they stop and start and stop, I should say. So I kind of figured it was a little bit under halfway up. And then I know that my statue is going to be in the middle ish. Now here's how I can draw a line, but I tend to do this. I tend to put my pinky or something at the edge of the canvas and then I just let my arm come down. As long as I move my whole arm, notice how my elbow and my wrist are not moving, it's just my shoulder. Look at your subject matter for twice as long as you're spending here. Because if you're just doing this and you just keep going along and you're never looking at this or really observing it, you know, you're going to go, you could go off a stray pretty quickly. So really think critically. Okay. So now I've got this kind of basic outline of where everything's going to go. I'm going to use a little less water so the color's a little darker so this doesn't appear as dark. And in fact, I can even lift it a little bit. So I know that's where that fountain is going to go. And then I look at my fountain and I say, okay, how tall is the whole thing altogether? Dude, dude, how tall is that body that dude next to everything else? It's in thirds. So let's say I want the top of the fountain to be here. Okay. I've got to split this into thirds, roughly, ish. And then I can go back and forth and adjust as necessary. So roughly thirds. His body is going to be that big. The other bodies are going to fit in here and then there's going to be the big fountain right here. Let's see. I'm going to start. I'm squinting my eyes when I look at my resource because instantly it helps kill some of the detail. How wide? Well, it's going to go a little wider than that line there. So I do something like this. And you know, I like to measure and keep things as consistent as possible. And then I also like to just chill out a little bit and not worry about it being perfect because it's a painting. So that's going to be my fountain ish. All my little dudes, I'm just going to imagine that there's some shapes here. They're going to kind of come out and then come in a little bit somewhere in here. All right. That's a drawing. That's my drawing. It's not that I can't draw. That's not, that's irrelevant. A relevant, irreverent too. But it's just about creating the shapes and knowing that I'm going to refine it later. Same with this little figure. See how little that space is? Remember, I've got to fit six things in here. So I could actually, let's see, I could do it into thirds and then cut those thirds in half. That's a big difference between, you know, if I just went and started this whole thing with this guy, I would almost always make this guy way too big because my instinct is always going to be to put in all the details. So, all right. Now, with that said, I'm just going to do the little line. There's where it's but it's going to go. There's his foot. His arm's going to come out here somehow, stops around where his butt is. There's another thigh that kind of comes in and ends there. Okay. That's all I'm going to do on the fountain. Now I can start to think of where everything else is. Okay. So those little potted plants. I'm not going to do a ton of details on those because I actually want the focal point to be this fountain, even though I'm not going to put a ton of detail into it. I want that focal point to be the fountain. So I just kind of want to get the idea. I might choose to maybe even leave out this little pot in the middle or put it in. I don't know, but I can decide that later. So for now, I'll just throw it in. It's kind of the same width as the base of the fountain, which bugs me. So I might put it off center just to be wacky. Everything is so centered. It's nice to throw something off a little bit. Create a little tension. You might want it in the center and just say, tough. Let's go into the side. And then just a little stem of a branch trunk thingy. And then somehow in here, I might even just fill it in so I can actually see it. That would be my little bush. I'm going to get an idea where all these other bushes are and just give the hint of some of these pots. Looking at where the bottom one, you know. I'm not going to put a ton of, I can spend more time later if I really want to. I just want to get the idea of the pots. Now the, the farther that they get towards you, the bigger the pots are going to be. The pots in the back gets much smaller and then the trees. So then I just kind of would get an idea of where I want my trees to go. Now it might bug you that some of these trees are touching our little dude there. But here's the great thing about those trees touching him. They, yeah, they give us a great contrast. So having the trees touch that guy is a good thing because then he really pops out. And in fact, you know, looking at it, I might even do this. I might reverse it. I might say, listen, the highlights are on the right half of his body. Obviously the sun is over here somewhere. If I have a tree instead, touch the right half of his body, then he's really going to stand out because I'll have this highlight next to a dark dark. So I'm going to turn it around and I'm going to put this big tree over here touching him. The tree is here now. I'll give it a little bit of space over here and then have a smaller tree there. So I'll have a little space where the dark of shadow of his shadowed body touches the lightness of the sky. Does that make sense to you guys? I'm talking about contrast. For thinking about ahead about the painting. And then, you know, just this idea of trees somehow in here. Without any real tons of detail, just the idea of trees, I might not even do all the detail of anything else just to get an idea. That is what my drawing would look like. It looks kind of messy. That's what it should be like sometimes. You can have a perfect, beautiful drawing. But what I do want you guys to do is spend a little time on this. I mean, I'm doing this quickly just to kind of demonstrate to you how to put a drawing together for a painting. Spend the time thinking about the angles, how big are the objects. You know, if you guys have more time than I have because I'm demoing, go in there and look at, okay, where's the pot? How close are these pots together? And actually, you know, take some time on developing the pots. It doesn't have to be as abbreviated as what I'm doing. You could also decide to put in the shadow. Where's that shadow fall? It's going to fall in here somewhere. So take your time in making sure that you get those relative sizes right. It can be this rough.