Sketch with Peter Han ep 5

hello welcome we're starting up for the moment but not really gonna be engaging too much just yet until people come in for those of you that are here obviously are welcome to talk with me if you like but like I said I'm not gonna get super into it just yet into a while I set up a couple things on this page [Music] do give me a little bit of feedback for this particular session because I have a new setup going on where before the last four episodes everything was done with my phone and that was it so the mobile app wasn't was fine but that I found that the video quality was kind of so-so okay so the mic is not that is it low or is it loud or is it noisy kind of let me know us to like staticky okay let me see if I can bring it down what if I brought it down is it better now some kind of adjusting the audio right now real quickly see if I bring it down a little bit we'll see if that gets rid of the static yeah it's also a little bit further away so I'm just kind of seeing what the bests did it worked better okay so what happened was that my audio decibel was about really really high so I just kind of brought that down so hopefully got rid of the static meanness but you guys don't hear me okay literally muffled let me see if I can bring it a little bit closer and hopefully that will make a bit better being a little bit closer to me might help but just in terms of the muffled s of it again I'm trying to get a sense as to like how this set up is going before we just had our phone so audio all the audio is being recorded off my phone as well but here we have an actual mic and also a camcorder we just set up right above me and I'm sure I get a sense of like how it was feeling so far the video quality should be much better and the audio I thought would have been better as well - vibrating okay I'm wondering if there's anything in my audio input that can help this give me a second as I kind of Slavia just a couple things see how kids are gonna run video/audio me even sure let's turn off the music a little bit to maybe that will help and you'll probably need a lot of noise from just background stuff like computer noise and whatnot a fan of it so I'm hoping this will be okay but we'll see what happens hope it's not terrible sorry so that's also another problem is that it does seem to go to sleep so give me a second as I kind of play with this a little bit this is a new session so I'm gonna make sure I get everything right okay hopefully that will fix a problem because if the camera goes to sleep so let me just check one couple less things with the audio see if there's anything else I can do don't feel like I said it's not too bad kind of looks like I can't really change anything unless I started up the program again later on so now I think I'm just gonna keep things as they are everything should be working okay see if that will do anything anyways there's a couple of people in here again for anyone on that else is joining is any additional feedback in terms of video sound anything like that please just kind of let me know ahead of time as I adjust this when we upload this into the twitch stream I'll probably edit this section out so don't worry about that what I have right now is set up on the page is a couple of demos I'm going to be doing that pertains to the class that I do teach in the dynamic sketching approach and I just kind of cover one didn't make it worse I mean go back to what it was before default default I kind of sent everything back to default so if it that sounds a little bit better but I'll keep adjusting as I go through this session and hopefully it'll make it somewhat better so what does it sound like is it really like a distant then really low is it kind of hard to hear get turn up your volume a lot hopefully that's a little bit better okay good we'll just go with that for now and I'm also gonna hear it later on after the recording and see if there's anything else I can adjust on my end once I restart the twitch app I'm actually using this kind of studio called up OBS the OBS studio I'm still trying to figure out a lot of like the streaming processing of it the video seems okay but now I'm just kind of wondering what the audio now in the future we'll see maybe I have to next time try just going to off the audio directly off my camera too and we'll see how that goes next time anyways yeah so a question from new $1.99 is about the differences between my mentorship at C GMA and brainstorm and some of the key differences between the two are going to be within basically the set up of the platform because C GMA is a Tim week when I'm sorry eight-week course and the brainstorm version is a ten week no I'm sorry no 12 12 week course so length of time is different between the two the mentor ships and the mentorship so running all so differently where the brainstorm version has basically a one-on-one time session an hour at least minimally per person per week whereas the CGA version everyone's together one session of a room online that is and we deal with each other for a three hours amount of time and I do feedback when I once talks in that chunk of time in the week so you're actually getting more time on the mentorship I brainstorm let's see GMA but the price difference is because of that so those are the key differences okay so now that I have this kind of set up what I want to explain for this I guess first around this first session first part before I jump into an actual sketch in my in my book he's gonna be always a lesson or even just a topic based off one of the things in my class and one of them is based on this idea of shape combination this idea of relationship within space and right now we have these five core forms and these are the building blocks the the fundamental shapes that we use to construct everything that we see in observation so when we go draw on location that's a view with me not in class we will go draw things like plants bugs or animals and cars and tanks we would go draw many many things sorry that time like that real quickly so will I have another dynamic sketching course on C's you may in the future not right now at the moment so the only place to be able to get it is through actual classes that I'll be teaching online through my courses okay beyond that though so in terms of what's covering in this area it does again pertain to that class of CG ma so option thank you for that suggestion I will definitely take a look at that I'm looking for more suggestions to let me write it down somewhere actually stream elements cool thank you so let's just go to this one real quickly based on the core forms that we have five core shapes and these are in three dimensions that we're playing with and the idea is that how do we apply this the combining of shapes into observational drawing because this right here is all basically just playing with perspective the relationship of space perspective is the idea of giving the optical illusion of three-dimensional objects on the two-dimensional plane that's the point of perspective so here I'm showing you things like vanishing line or basically the lines are going back receding to the horizon line which gives you the vanishing points and gives you the impression of things going back in space objects can be in front of objects foreshortening can happen as well too and so those are the things that can actually you know apply towards perspective work so over here beyond that the idea of just only having a relationship within a space of things next to each other we also want to show combinations of things how do we put things together so for instance one example would be this if I just show it to you straight on imagine if we have a box coming down and then another box is being combined into this one so they're being pressed into each other right and we continue to press more boxes into each other it's like Legos essentially we're just combining these shapes into each other but there's a construction method how do we construct the question defying this accuracy of one shape into another none of this stuff I'm going to talk about I wouldn't expect any of you guys to automatically just understand but these are just notes to share with you in terms of things I go into for my classes so how that kind of works is imagine if we took that box again we drew it completely and from there let's draw the other box and let's just overlap it now with this impression the idea is that we basically have three things happening either one boxes in front of the other left in front of right right in front of left or they are combining together literally like the one we have up here so how do we find this combination of the placement of where these marks are happening and this is where it gets confusing for a lot of students when I show this in front information but just real quickly the idea is that it's only going to happen within a certain area of space which is obviously in the overlap area right there this is the overlap which is where the connection is going to be found so you see this connection I'm trying to find that within that space so on this very line right here to here which is the line nearest to me nears to the camera I want to choose somewhere on that line just by choice there's no direct answers as to which area you want to choose it's all based on subject matter or you as choosing it let's just put one in the middle for the moment I could put one near back or more to the right doesn't really matter from there I can place a line going down following this perspective then going back following that perspective line as we do so if I kind of darken up the lines we now have the two boxes being combined together within the same space which is a real relationship between the two forms as they are inter connecting together okay notice one thing one box connecting into another but we also want to be able to show more additional shapes so if I kept adding additional forms into this thing let's say I placed in a pyramid over here but again I'm not really twisting and turning these dramatically but if I place in this object and trying to find that point of connection again it's only happening within the overlap that's the overlap area and then line nearest to the camera which is a corner of this pyramid on that line just anywhere I want to choose on that line as a point let's put it right there I'm gonna follow the perspective line of this one in the perspective line of that one as it goes back now this box has now been pressed and combined into the pyramid so if I throw in some like hatching the show shadows like for instance if this was in a shadow area you start to see how these combined shapes are appearing another difficult one would be to even consider now curvature I mean let's say I took a box again starting with the box it's kind of the best idea because it gives you a sense of perspective it's easier to congenitally construct and it's kind of a typical shape that we approach with for the exercise but whatever shape you begin with is up to you but I typically start with the square that's cube from there if I wanted to apply something more spherical unless we had placed in a sphere like how do I combine this to this trying to find these kinds of points within a rounded spherical form it sounds very complex and it can be for many people and again I'm looking for the idea overlap the overlap is in between this area here with a sphere in the Box are next to each other so from there I want to find the line nearest to the camera which is this line of the corner of the box and I'll find the point just your choice let's put it right in the middle just to kind of keep it safe at this point what I have to do is follow this is a top plane this is front plane and each of these planes are in a perspective and if you kind of imagine an ellipse sitting inside there you have to take that ellipse and put it on the inside of the sphere so imagine drawing through all the way inside the sphere matching the perspective plane at the top and the perspective plane on the side then imagine this line this line wrapping around the sphere here's a corner of the box imagine if this wasn't shadow side for the front plane that sphere has now been pressed into the box so what's the point of all this like why do we have to practice this in the first place like is there an actual you know use of it at all well let me just give you a really quick example of even like drawing something organic and how we can combine something of this information technique into a like observational drawing or more construction methods so let's say I drew something very organic like a fish and we can start a fish with how about a line and that's gonna be just giving me a general length of a portion of the animal and then from there I can begin with how about I don't know the fish can be a comb head and then from that comb kind of head like form we can go into more of a longer cone like shape here's some cross contours and then back end it's gonna be the fins we have a different sorts of constructions of fins on top dorsal fins pectoral fins all throughout the body of the shape of the form so from there I can even place him where the information of the eye is placed in now if I want to find the other end of it all I have to do is draw through the thing find a cylinder and now I can combine these shapes together also how a cone wraps around that cylinder giving you this three-dimensional information about how these shapes are being combined together here's the mouth construction to the gill so now I've taken something organic using very primitive geometric forms combining shapes together here was a cylinder a cone have a cone wraps around that cylindrical form rounding this way rounding out that way so this kind of shows you then a direct application how we do shape combinations to organic things and even mechanical stuff or everyday objects that we look around us the idea of how we can apply and manipulate shapes by either cutting things away or adding stuff into it it just gives us a lot more control of that construction method and the biggest thing to walk away from with this is the idea of how we draw through the sketch so by drawing through you're able to see the construction of the entire thing we draw the entire form not just partially because we can assume what this is gonna look like and you can see it you would draw it but for those of you that wouldn't know how to actually construct this stuff then you need to use some method to help you visualize it on the paper so it's drawing through it's immensely important aspect of being able to you know control this part of it question from here to learn is how did you learn hatching and cross-hatching or cross hatching is you just study all the artists do you have a method behind it can you recommend some good artists to study many and so hatching is one of those things that is honestly it could be an entire lecture on itself because I have many resources that people that I look at you know I also have a system in terms of how I practice and of course you know there's even certain tools that you should be even thinking about using before you move into other certain tools just to kind of give you a scratching of the surface of like how we can do things like hatching methods it kind of goes back to even just line control and line control is the origin in my opinion being on the you know produce high-end patching which seems obvious not when you hear it right so when you actually go into line control the exercise that we do in the class is the idea of having a pen and we use usually felt-tip pens it felt depends what we do is we will place in things like horizontal lines of varying degrees of length and we will control these lines as parallel as possible even with the consideration of spacing in between okay even spacing in between to build mileage what we will do is also draw the line and repeat the line several times over to control it they pick the line and then also increase control several times over and this is more for line weight but here I'm controlling spacing spacing in between each line so that way I get these very even spaces as I produce each one okay now if I apply this to hatching imagine if we took a bar and I just applied it one directional hatch into this set up another one and we're going to do one direction let's go a little bit dark in the beginning let's continue to space out the lines as it gradually shifts lighter and value so spacing it out very properly it's something we should be able to do even if it's something more complex changing of directions the more I type not the actual hatching the darker the value becomes the more I begin to space things out the light of the value as it shifts down this gradual change so that's where I would practice are hatching methods right the succession of each line as it's being produced on next to each other so that's one of the methods and how we practice this a particular exercise maybe we can vary the grades of directions there there's even an actual system that I follow in terms of how many directions you can go up to and of course the controlling of value how dark you go how light you can be able to shift it how gradient and soft and smooth and that transition is also so this is kind of like the beginning parts of how you would begin to start thinking about hatching so if you learn in hatch in the future I would say first you don't want to really practice your line control now and from there push it harder okay so this stream right now on Twitch it is going to be safe for a couple of days that what I do is download it and then I reload onto twitch as a highlight and I'll say about a section of it and so that people can watch two parts the entire live stream will most likely post it somewhere else I might do it on my YouTube or I don't know I'm not sure you exactly yeah I have them in storage right now the very first episode I don't have anymore it disappeared comfort which because I didn't realize they deleted it so anyways so Ryan Dylan asked about ellipses you know I'm having trouble drawing in an optical plane inside of a sphere in particular getting a plane to be parallel to the face of a top or bottom face and week here that sphere is in can you show us how you would attack that yeah ballpoint it gives you much softer control so right now I also have a ballpoint pen like this one so there's nothing wrong with using ballpoint pens so if you wanted to do this exercise with a ballpoint and also just go with the intention of commitment to the line and so you can be softer about it obviously which is a big benefit of a ballpoint but the problem with ballpoint as you start to hatch or render with it is that you begin feather and when you feather you you produce a lot more line than you really need to so felt-tip pen has a much thicker line work so that way you got to be much more in control how many lines are placing down so one of the terms behind that is line economy how many lines do you need to produce a certain shape or aesthetic right so some people are drawing boxes what do they do they they do this they're trying to find that shape and trying to find the lines and making sure each direction is correct and they use all these lines just to find it instead of going in there and knocking it out with a couple of strokes with the confidence and commitment that you need behind it now both apply there's nothing wrong with one or the other I'm just saying be mindful of what you're actually doing control it because you intentionally did it not because it's just because you're trying to search your way through it right in terms of the what elliptical thing your lips azar again much like hatching another entire lecture on his own and I can go into the entire thing now we don't have the time to because I'm gonna move on to the sketch but when it comes to ellipses and they are very complex it's for one here's a really simple thing to understand or or I guess to get over and across that you how I don't figure out if you know if we just drew a circle okay take a box we'll cross it off throw a circle in there and we can say that this is a symmetrical form obviously right so if I flipped it in any direction it's 50/50 okay it's half each side is symmetrical completely symmetrical and even if I took an ellipse whatever degree by flipping it vertically horizontally this is also 50/50 this is a symmetrical form yeah for rendering aspects ballpoint is where we apply that so back when I was at Art Center we are all super into ballpoint because we were to render the crap out of our drawings but again it has a time and a place it's about choosing when you do something like that and when you don't both are fantastic tools it's about knowing how to control both of them I will say though that if you do start with a felt-tip pen the reason why we begin with felt-tip pen and not with a ballpoint because if you were my class I don't allow ball points and the reason why is because again it creates a lot of hesitation and feathering techniques so I want you to commit to your lines and build up more confidence if you can build more confidence and then come back to the ball point you have much more control of that particular tool as well too even when you go to the pencil or the tool sets and your line in economy but mine control becomes far better but that's just again part of my class I'm not saying you have to do that it's just if you were in my class you would in any case where the ellipsis circles and ellipse essentially what you get is a symmetrical form but if I put this in perspective let's say we put a plane in here okay and even a more extreme plane a perspective these are all one point boxes so if I put this any cross here center point let's throw an ellipse in there okay this is a top plane or bottom plane or whatever plane is here's the dilemma of what we just did right now we already confirm the fact that the ellipse from a plane that's a circle to an ellipse is symmetrical okay and that's what makes it a true ellipse because if I did something like this like a blobby form or something tear dropped obviously that wouldn't work that way it's not an ellipse right so if I did something like this in perspective if I threw an ellipse in there what you are now getting is the front side in the backside that are not symmetrical okay so you have this front section larger more in space than the one in the back now we can say that but that's in perspective they're supposed to be doing that but that's not a true ellipse then because we have a skewing or what's happening so typically in perspective will be tend to do is that when we have a box a plane and we cross it off the question the question really is about this where is true center of the ellipse true Center true center okay because this is not true center then because over here these ellipses are off because as we split this it's not a symmetrical form so that can't be true center but if I brought that Center down a little bit and then drew it like lips inside there what we would be doing is trying to find shoe center that point okay it's again very perplexing for many people it didn't really make sense but beyond that the other part of it is now about how we would take an ellipse and put it on a plane that's in perspective as well too going up and below that risin line in perspective so if I just drew an ellipse on the horizon line it could be a circle if I turned it in degree whatever the case is it would be sitting right in the middle then you wouldn't really have a tilt at any time but once we actually put let's say a put a vantage point over here and let's put the front plane of the box over on this side it's had the vanishing point going that direction from this vanishing point as it comes out with a center line this line right here where it's coming out would be called the minor and this is a shortest distance the shortest distance between two sides of the ellipse okay then we have this line coming out from this direction which is this one here this is what we call the major and this is the longest distance between the two tips essentially okay the longest distance is shortest distance the minor and the major so if I have the minor applied which is coming from the vanishing point from the center of this plane that is a shortest distance between the two spaces the major has to be 90-degree angles within that cross 90 always so if I throw in 90 that's gonna be this diagonal here well close to more like this this is major it is the longest distance between the ellipse so if I throw the ellipse in there now you get something more like that now here's a mistake that people make is that if I throw the box in there again here's another one below it in perspective people just tend to do this and that's off because it's not tilted you've drawn this ellipse would you be square on the horizon line down over here that's a very common mistake that people will do when it comes to ellipses and that is not correct that's an ellipse because what you're not getting is more of thinking like a cigarette lighter you're getting an oval shape okay where should be more tilted because if I throw that back in perspective now this is how true ellipses in perspective will look in a cylinder anyways it's very confusing stuff took me a very long time to figure that kind of stuff out too but understanding the major in the minor just this alone can solve a lot of problems okay is first to understand that the shortest distance between the ellipse spacing is the Minor the longest distance between two points of the ellipse is the major then big in that line you have a ninety degree angle so if you have it in perspective you find the minor which is going to go back into a1 a vanishing point think of that as the axis of the wheels and then the major is always 90 degree angles 92 that a minor this is just out of my well I've done it so much that you know I tell him I head down so I just choose random topics for a session and what somebody asks a question on something I'll try to get into it again like I said this requires a lot more demos and process even to see it apply to something to make it more sense but this is just to show you guys real quickly cuz this is not a class this is just to show you guys a bit of advice and people ask questions about things and I try to answer a few things here and there so this kind of gives you an idea and I so like what we tend to do in this in the classes that I teach so here's some of the other notes which is the idea combining shapes relationships of forms together combining three-dimensional shape language then the idea of hatching emanates from line control whether it's about line weights or spacing then it's talking about ellipses afterwards if anyways anybody that's just doing - now that's kind of what we covered at the moment okay I need to keep in loop sorry you can control of this camera because I don't want it to go to sleep it's still currently on that mode so I need got to turn it off when I get the stream offline anyways we're gonna go to my sketchbook over here I'm gonna zoom out just slightly and we're gonna be sketching on this paper and I'll be also answering questions for people that have more curiosities of things that's why I kind of do my live streams in the first place it's just to UM pop chat and draw for you guys life the first spiritually like half an hour or more is about an actual lesson of something but now we can get kind of get into the idea of just Q&A and I'll be just drawing it in general and of course you are more than welcome to engage as much as you want to for those TV or just come in to watch what I would suggest you do is draw sketch with me you know and anybody that has more feedback based on the video based on I know the audio is a little bit off right now so I do apologize about that okay I'll get that all fixed up next time but I know it's a little bit kind of probably quiet or low or distant at the moment and even though the mic is right next to me but that might have to do something internally right now with the or what the the OBS studio so the question I get from critics is I have a hard time finishing my drawings that for years you know it's like how do you you know what's your advice on something like that say when you guys get to start sketching something you don't finish it right you just end to a certain point because you feel like it's not going in a right direction and you're stopped you go do something else so what's my advice to that you know here NY rock is saying you know just draw as much as you can but the thing is you know drawing just drawing it we can say that but it's not always the best solution for everybody because there are other things that have to be presented to you that gives you a better idea as to what to begin with maybe in the future Tiger Mac if you're in tough for someone who may ask for something like that in the future you were asking cut primitive shape techniques for figures I will do so next time but for today definitely so I want to start something here real quickly first and what I continue to answer the question about that so again the question was like how do I stick with that finishing a lot of it has to do for me in my personal opinion about clear intention about what it is that you were trying to sketch in the first place okay now what do I mean by that intention well having a clear idea as to what the sketch is for what is it before in the first place sketch drawing you know rendered piece I don't care what you're creating what is it for if you can't answer that question and you have no clear idea as to what you're doing then you're lost and you got to sit down and really think about what others you want to do so you know what are some intentions of sketching or drawing you could be doing well one intention could be study I'm just sketching to study you know there's no other intention behind that it's just me looking at objects looking at other people's work and I'm just trying to understand it so the intention is very clear you're trying to understand it you're not trying to render it you're not trying to finish it you're not trying to finalize it that question of even what finish is then comes up so mucosae that a study of a drawing let's say look at this fish again this right here was a study of a fish to show you how I combine shapes that is a finished drawing now some of you might say but it's not rendered it's not realistic you didn't go into the surfacing you didn't detail more of it but that was never my intention my intention was to show you how I combine these things together so as I did that though I'm done because there's nothing else I intended to do with this so when you start your drawings have more of a clear idea as to what that drawing is for if you do so and give yourself a general plan of strategy now you might be able to get that finished as to whatever you kind of intend to be potentially more hit more consistently hit because when you just start drawing randomly and you're kind of lost a little bit you'll just sit there just trying to sketch all the way through and not really having an idea you get you know I was a passed by and the time can you just move and get tired and it doesn't really even come out the way you wanted to because you didn't know what you wanted so they're a frustrating process if you don't really have that so my recommendation is definitely really think about more on how you control your direction so another question I have over here is a hunter in the middle pen well what's something like that we do a lot of photo reference studies ok so we will look at images references and even looking at real things and you would study those using things like ink washes or even just using hatching techniques but everything is based on value how you control dark the lights and whatnot but that takes again a large amount of practice to do so a couple of questions if you have any favorite recommended artistic media influences not necessarily a favorite things that are recommended you know honestly anything that piques your interest for me it's not even just you know artistic in jumps sorry it's not just artistic it can also be based on things like mockumentaries so videos of I would watch about animals or nature or science how things work I'm very much interested in history so those are definitely parts of what I would actually really get into I love watching something but also getting information behind it so of course reading books is another part of it too but they're all kind of connected together for me beyond that don't entertainment you know I still play games I'll still watch a lot of movies those are all very much aspects of things I'm interested now what do you think is an efficient way to study perspective well start from the very basics you know and and of course there are many resources out there books videos whatnot and you know for some people that need videos in one of the cases I would definitely recommend Marshall yeah I'm sure a lot of you guys know Marshall banjos you know when you guys watch from proclo or something like that and they do a lot of these podcasts now and Marshall you know I've listened to lecture him you know from him lecture quite a bit and he has an excellent one on perspective and on his website if you go on there you will find a series of videos on basics of perspective actually they're kind of well actually they're very old but still his explanation of high-desert is actually fantastic so here's one I would also recommend highly let's see question from music you bit shapes and forms confused me I can't put shapes and forms together to make a drawing disk they disconnect somewhere well a lot of that again is you gotta have someone to kind of show you on hand you just simply say whatever you're drawing you know make them into primitive forms I mean a mixed sense in terms of like Lise explaining that and saying it to you but in terms of like you actually applying it you have no idea where to begin you know so in that situation you gotta have some sort of Avenue whether it's an online course or an actual physical location something that you can go to that will help you understand like what it is that we're talking about right so can you do it by yourself still I mean yeah if you go through a lot of lessons of videos and books and watching stuff like this it might give you an inkling of it but it won't necessarily give you the right tools to develop to make it your own thing and at the end of the day what you need to be able to do is make this your process make this a tool that you're going to be able to use going into the future anyways in that situation look for some outlets for ballpoint rendering do you know a better way to get something up to the right value while keeping everything smooth it takes like hours and wherever shapes layer by layer well that's the thing about ballpoint it's much like graphite pencil renderings right you got to build up the layers so it does take forever and there's no there's no shortcut honestly to it other than maybe like more time where you can get so efficient you know exactly what you want then maybe but in most people who begin with it you need a lot of time so what I'm drawing right now is the Tin Man for some reason I had this pop into my head you know Oz and you know The Wizard of Oz movie and of course the story lines in the books and the character the Tin Man popping up I think it's because I was thinking about nutcrackers as I was drawing a certain you know how will the theme characters earlier kind of the other day and for some reason the Nutcracker led him to the Tin Man and I kind of researched them a little bit and not one of the sketch them I had not seen Kirby Rosen's resinous I think that's his name his pieces I'll look him up later on though I'll look back on this stream and write down a bit of information from people's suggestions and also advices on things lose 10 minutes gonna be sitting in the grass he's gonna be like he's gonna be frozen solid from rust which incidentally tin does not rust so maybe he'll have like a tin surfacing with a steel underlay and thank you guys for kind of supporting each other for comments and suggestions it really helps me along to be able to answer questions and things especially if I miss something I do apologize sometimes the questions pop up and I don't always catch them so if you guys can help each other all well so it can be great question from quill exes you hate traditional and love digital are you a hack not necessarily what I recommend starting with analog and traditional methods highly absolutely now does that mean that because you started with digital that makes you a fake in any way no of course not digital is just another medium it's just another tool but the problem is certain tools create bad habits and digital does create bad habits as well and the lessons that you learn on the digital side don't always migrate to the analog side the traditional side however a lot of the traditional methods do migrate to digital in terms of form of thinking processes techniques but a lot of the digital techniques do not now can you learn things like value color all that kind of stuff and whatnot the digital yeah of course you can but like I said there are certain things you'll miss out on that I think can be very beneficial by using traditional methods if you don't know what those things are you can ask in any case that's thank you sir Joel what kind of stuff my working on now actually I'm working on the next processbook the next educational notebook which is the dynamic Bible extension that particular book I'm trying to get back and start earlier next year everyone's been asking trying to get a copy of it I don't really have any a stock anymore which is the big problem I'm trying to get them printed for early January February of next year and hopefully have them more in stock but I'm planning to actually produce the next book which is go into more specific details of those notes because the complaint or the feedback I got from the first book was that it was very general you know in terms of like the topic and the techniques and whatnot and I designed it that way so that we now I have an opportunity to go a much deeper into the specifics behind it question from loofah art is what makes good shapes good well I think a lot of it is well it can be divided in two things storytelling and aesthetic aesthetically pleasing shape can mean something and also adds it into the storytelling like a shape can say something instinctually or emotionally much like a color we can respond to shapes we respond to also yeah control-z join traditional very bad habit but okay that's you know like I said some younger people who begin their art training because of the advent of digital being such a commonplace now you begin with that you know like when I started drawing you know we just used pen and pencils we I didn't it get introduced the digital stuff until high school when I was like 18 19 but this is back in like 98 you know but we only just play with it it was never really fully you know implemented into the process of things people were still fighting it if anything else goddamnit sorry have to keep coming back to the camera because it shuts off I will definitely fix that for next time and for those of you that are just joining there was a whole bit of a mess in the beginning just trying to set up the new vague and everything using a camcorder I'm using a new mic and a little bit twitchy at the moment but like I said we'll get a solved common tears I used to love to draw and drew almost every single day but now I seem to not like it anymore I can't even finish the drawing cuz I tend to hate it as I go further this is not a problem of technical this is a problem of mental you know just how you mentally think about the process of drawing but it's also about you know how it looks personally to you and things that you are seeing that you know quite honestly most people wouldn't it wasn't doing that last time because I was using a phone so I'm using a Sony camcorder right now so it's on a a power-save mode I thought it turned it off but it's still doing that so I have to turn it off at some point get off the stream because I don't want to go through fumbling this right now because it's gonna be too distracting and people won't like it so I just have to go in there and just make sure doesn't go to see chip that go give it couple minutes but anyways you know in terms of like that comment I understand what you're saying Serge oh yeah this is a very common thing and if you don't assume one aspect is that the way you feel is normal okay everyone feels that at some point every professional artist at some point has felt that too you know it's like what you're doing you don't like you know everything you put on the page it doesn't come out the way you wanted to and it's a frustrating process because you put effort into it it doesn't really feel like it's giving any dividends you know you're not growing you don't seem to move forward and it's just a struggle each time you need to go through this whole mental you know build up to know that you're gonna be going to do stress essentially and to be honest with you out drawing should be is not stressful drawing should not create you know this anxiety where a lot of people actually do have now and I understand it but I don't necessarily go through myself drawing for me is an extremely entertaining thing and I'm highly rewarded by it now people will say it's because you're so good now well I don't also believe that I'm the best I there are people out there that are far better than me but that doesn't detract to the fact that I enjoy it immensely and granted of course I have you know many many decades putting into this thing now the question is how much time have you put into it too you could say but I put years and years myself into this yeah I can argue with that now and people want common answer as many instructors will tell you you gotta have more time well I don't think that's the best answer for everybody either because anybody can just say it do more time but I think a lot of it is also making sure the way you think of your work is a reflection on yourself you know how you think about you and being able to just enjoy the moment instead of having to overthink it now I'm not saying that you have to change it overnight and where you are right now is you're not gonna be able to you know make it and you can't you have all the potential and all the opportunity opportunities to be able to do this but for me you know a lot of it is is making sure that the mindset alters how you see this is not about performing something to make it look as beautiful as possible so that other people look at you be like wow look at this person who is doing something amazing yeah everybody wants some sort of recognition of course I understand that but at the same time even if nobody was looking at it you know it was just for you to be able to say that you're okay with this you know like I'm I actually like what I'm doing I think that's really hard to overcome for many people and that's something that's just kind of strive for us we have to spend a lot of your time focusing on is that yeah you can focus on technique forever but techniques have been beating on the answer technique only taints it takes you so far and you really have to just enjoy what you're doing in the process of it and so that we were able to consistently and be disciplined about working on it for decades to come and that technique will only just grow better as you age as well too but the deeper you go into this trap of like very self-deprecating thoughts about your work I'm gonna cuss not good enough I'm not very good at anymore so I hate this I hate that it'll not only reflect on your work but it'll reflect on the way you communicate about your work it'll reflect on your social aspect of life and of course how you communicate to others so if you're working in the industry and you're coming with that kind of mindset people don't want to work with that kind of mindset people want someone who is confident people want someone who knows what they're doing and if you show any sign of like this is not something I want to do or I'm not really joining this they don't want that kind of energy also so what that means is you have to suck she spend a good amount of time also in your youth to really figure out what it is and why it is you're doing what you're doing so this is not easy stuff this is all really incredibly hard to overcome and there is no direct answer there's no nothing I could tell you that says this is the way to do it I am just saying the difficulty is there for everybody and so what you're going to do is brain normal so you don't have to necessarily think that you're the only one that's kind of suffering and because of that that unity in the community of it should make you feel better because you should be able to work with other people now too you know and it's the only way to move forward also as well in terms of devices to how do I overcome this really now I would say you got to work with others find like-minded people as much as you can and for me drawing with others having a lot of friends at all what I wanted to do what we wanted to do help each other get past certain points and grow in that way I was able to maintain this consistency and eventually following an obsession in love with the thing I'm doing where I already kind of had that to some degree but it only strengthened through the you know working with others so but I know how tiring that can definitely be it puts a lot of stress and strain mentally physically as well too and emotionally and so not everybody can do this and that's where the most common people the Lehman's can't understand the difficulty of this sort of lifestyle we're just trying to create you know and people think it's a go you just you know practice and we put that time into when you get better but that's just a part of the equation you know sorry if I missed a bunch of questions on there but what for our TAS have I seen spider-verse I have and I loved it it was great let's see here here to learn ass how lightly is your grip to the felt-tip pens I find out after a while and lib tends to wear down and becomes awkward to draw your you're pressing too hard and it's not about just pressure okay when it comes to the pen the idea behind this is grip the tighter you grip your pen if you get white knuckles and you got to relax your grip for me my pen is resting on my middle finger and my index finger and thumb are curling the size and I'm squeezing at the sides of it naturally you're gonna get some pressure as worth sitting on top of it okay but if you're pressing way too hard it's because you're gripping with your heart so relax your grip and think about the distance between the pen as well too when I begin to sketch I hold the pen at a further distance because it creates less leverage and more of this sense of gesture if I go close to the edge of the lid I'm going to squeeze harder and press harder too so I'm always moving at distances of the pen right now you'll notice I'm drawing water distance like this so I don't want to press too hard and I appreciate you guys stopping by and asking questions so right just continue on with the tinman here so you've learned a great comment since time just kind of reading a few of the comments on the chat board right now and it's great to have you guys share your personal experiences and whatnot so as much as you would you know potentially learn from me you guys could actually very much potentially learn from each other so the idea is that everyone has their own perspectives and as an instructor even though I teach a certain method the reason why I enjoy so much is that everyone's perspective is different and so how they see it and how they use it and manipulate it is their own and that in turn helps me understand how I can also approach it differently so I learned just as much as I teach and that's why I also agree that when it comes to teaching it's not about just looking above but it's looking laterally next to you so when people are looking for answers by going to like pros and people in books and old masters and those are all great methods and learning but like I said looking right next to you is really important who are you moving with is there anyone else around you if not it really stifles your growth because to maintain that energy and discipline by yourself is incredibly hard mentally and you don't always want to just turn online because people online again I'm sure you understand there can be a lot of negativity in terms of people's mindset and such not because you know they're trying to be it's just the name of the game in terms of this field of working in art it just kind of comes with a territory a little bit make sure that camera didn't shut off so I will be potentially doing two streams a week from now on so for people that actually want to come watch more please do so but my intention is to do more streams mainly because I felt like one a week was not enough to kind of keep people aware of what's going on you know attention spans are stored these days and online growth requires more consistency so I'm gonna be doing two from that one more than likely I'll keep the same schedule having a Thursday evenings in Pacific time but I also probably do one on Mondays so Monday and Thursday is when my options will be I will be doing a watercolor on this as well there's a bit more currently what I'm working on is my next book next in dynamic Bible I'm also working on setting up all my schedule for traveling for next year so I will be going to quite a few places internationally how do I like the street and is streaming on Twitch compared to Instagram yeah I mean the benefit of Instagram which I already has obviously a large you know number of followers on there that you know no we're not doing certain things so they're able to just kind of jump in so that there's that huge benefit of having you know a good amount of people on there to interact with but to be honest with you even if it was ten people it's still fun for me because even if I'm just interacting with a few it's more than enough so the change of the platform was not really much of an issue in terms of numbers of people but definitely the fact that Instagram eventually kind of showed me that quality wasn't very good I didn't like the format in terms of the orientation of the video it wasn't you know salvageable as content to use again so I had to look for some other route I play with stuff a little bit about a year ago you know things like on YouTube or you know I've opened up a patreon account and twitch I thought about I had opened the account as well too but at that time this was a while back they didn't have the mobile app on there and I didn't have any camera setup at that point either so I couldn't just jump in and that was the idea was I needed something a bit more user friendly as well cuz technically I can you know solve things out but it takes time and I don't all the kind of the world to do so can you share art in one way so question from New York rock is help on gesture versus structure so we were reading from Houston and he says to alternate between them but when I focus on one I end up losing the other so I'll give you guys are gonna quick technique a demo on this concept of gesture and structure no you keep in mind anything I'm talking about it's not the answer okay I'm not saying this is the way it has to be these are things that I've found over experience through lessons of Lovett's other instructors and time and place all the kind of stuff so again this is a combination of things that I've picked up over time but this is not the only way to do it and nor is this the only way to communicate there are many other people out there they're a puppy can communicate it better than me so I'm not saying I'm also right either there are some things that I might be communicating in the way that many people might not agree with regardless of that this is what it works for me okay so at the end of the day for a lot of you guys who are learning from many other instructors or books or formats is that you have to be the one to make decisions as to what works for you and pick and choose the things that really add to your techniques and lessons and methods of whatever the case is but you got to try them all okay so we can easily conveyed gesture something based on feeling movement okay I try to capture a sense of energy rawness behind it you know a certain artists I would say recommend is looking at guy named Heinrich clay or clay as he people say Heinrich clay is a german artist from like the early nineteen under late eighteen hundreds early nineteen hundred's and he had this amazing gesture line behind his sketches capture a lot of movement that's one of the key things is movement in the line that captures movement in the figure or the form then there's structure which is you know having a very semantic approach to how you've built things to give it a sense of solid you know internal shapes to a method of layer as you are building up to more information so gesture and structure kind of had this contrasting between the natural sense of like you know even elements right water versus nature like water versus rocks or terrain if we apply this a drawing like frenzy Cevallos even drawing an animal some type you know we can go with structure because this is what people typically know me for and then you know NY rock is kind of saying that is that my stuff is very construction heavy so you know how would I actually approach something one more gesture for instance if I approach an insect of some type I think I did it in sick like this last time it's a it's like a stag beetle and I can show you the shapes that it takes to build this thing then of course it has you know as an insect six legs terms all the anatomical details the kind of forms that I would use to convey each section and I'm drawing through each form getting through every section and piece so this can be a more constructive method obviously but can I approach this also very gesturally yeah I could and here's one of the techniques that I teach in the class at Art Center or even at other classes that I have and the dynamic sketching approach which is to convey a sense of movement and what I'm looking for is just fun not a spontaneity of decision-making so for instance as I draw here's a here's the what we called the one line drawing and this is done by many artists just one line technique and so we'll start the drawing and I'll move and I won't stop the idea is that you don't stop until the drawing is complete so I gotta be able to do Chris cost back and forth between lines to get a gift to where I need to now that doesn't mean that one technique is better than the other it just means that one is showing a different expression than the other both of them as strengths one is very structural to show you three dimensions of the form the other is a very gestural movement which captures a lot of energy and spontaneity of line lines that I would not consciously make lines that I'm having to produce because I just need to move in certain directions but if I combine the two together if I can start something that has construction to give myself a good general idea of perspective and then bring in something that is gestural in areas to do line work that I wouldn't normally do to create energy and flow and movement on top of each other you can bring a balance between the two potentially and so there are many artists out there that I also feel like do things really well in this way one of the artists classical artists you might want to look at is Charles Dana Gibson it was very famous for a series called the Gibson girls and I believe he actually balances his line work of structure and gesture really really work well because if you look at Gibson's work he does he's amazingly constructed play no heads of women but the hair is a very gestural very movement based and it's really incredible and as you guys are talking about Alisa you know Ivanova's work you know I think it's also a currently at the moment right now one of the best draftsman in the world her aesthetic control line and also her ability to be able to balance construction and also gesture is someone who I believe is at a very high-end level you know so I would agree looking at someone like her would be probably a very inspirational and I love her work a lot I actually wanted one of originals which wait to talk to her to my serie chose anyways that's a quick lesson hunt gesture in structure I hope that makes sense sometimes I talk about things and it makes sense to me but I don't always want to know quite know if make sense others these days I don't really buy prints and books anymore I attended by originals only so any artists that I am fond of friends also I can support people have always wanted to collect from these days currently I usually tend to save my money to buy original pieces I have this original phone just daro a comic artist and guides on their with Jeff Darwin's to come up Jeff Darla was an amazing comic art is still around did a Shaolin cowboy series and I bought original from him a couple hundred dollars it was a large like piece it was incredible withdrawn I still need to frame that homeworld artbook nope I do not I will look that up as to what Jeff daro worked on a amazing comic called hard-boil which is the one I was introduced to when I was a kid that kid younger he was known for a lot of his concept artwork for the matrix back in the 90s but his comic series stuff hard-boiled was one of his most notable ones and he did another one called the big guy really amazing series as well too and then recently he's been doing the shaman cowboy Geof Darrow's work out always yet comic-con in San Diego and again I've always loved his work the level of intricacy and detail is mind-numbingly heavy so the point where some people probably don't really like it so much because it's too detailed but I really loved it as a younger person now would try to imitate that like crazy oh you can't beat originals absolutely there's something you know what the texture the tact on this the materials being able to see it that you just can't capture on the digital sign obviously that's the whole you know point of the difference between the two doesn't mean that art digital art can't be valued either I feel that it can be so most people won't agree with that but definitely between the two I would always you know what the traditional I am gonna bring in her some watercolor into this I'm gonna be using my shrink Rand watercolor oh yeah yeah it was a Frank Miller and Jeff they're all come together for that one I'm amazed a movie or a series of some time has not been optioned for that but together a book it's such an amazing idea it's a crazy story the war of arts have to look that up so here we were rusted tin man I actually did a 10-man earlier yesterday but I wasn't very fond of it I finished it now I like doing it but at the end of it it's not because I didn't like the way the drawing turned out it was just more based on the design of it which I wasn't super fond of it wasn't in necessarily exact what I was kind of imagining not that I had a create a clear picture either but I am one of a certain feeling from it which was a sense of like oh no it's a we're right word for that would be not charming something endearing maybe something softer because the one I had done before was kind of aggressive looking kind of scary I thought didn't really match up to the story type that I wanted to go for so usually when I came to have drawings and in drawings that I've I tend to favor or not favor or based on now feeling not on technique so much you know there's a feeling convey as to what I thought would be you know could be kind of close to this one is definitely much close to what I'm going for the only other language I can remotely speak which is very basic and primitive and it's level is Korean because my I think background is Korean parents immigrated over to the u.s. back into that like 1970s I was born in the u.s. in the 80s but I grew up in a you know kind of a town where not a lot of Asian people around so I was born in Colorado my dad joined the US military back in the 70s and I was born in 81 on the army base in Colorado Springs for Carson where I was born and we moved to Ohio Columbus Ohio and my dad got a job in Honda at the production line of Honda cars painting them so he had a very kind of you know menial manual labor job my mom cut hair so she was a hair stylist she owned her own little shop and that was it you know that was our lives so you know around that time you know back in like the late 80s early 90s and stuff like that and you know like I said know what I wasn't around a lot of Asian people so I didn't really have the time or the opportunity to use the language the only time I used it was with my parents and when I was a kid Korean was the language that I would typically go for but that was just being a toddler it was basic words you know so I never really had the opportunity to really just push conversational Korean which I can do remotely I'm very primitive Lee like I said and it's very casual and when it's really official it can be a little bit hard and I know the actual language in terms of structure you know how to how to even read it to very basically the problem is I've forgotten much of the vocabulary so I don't know what certain words are in terms of you know what I'm trying to say them but I would know how to how to lay it out in terms of the phrases behind it you know and then the problem with Korean much like in Japanese is that the Western you know language has kind of crept in to the language in Korean as well too so they use a lot of English words for for things of description so when they say that I'm expecting to hear a Korean word but they're telling it to me in English but in an Korean accent so I don't understand what the hell are talking about that's very interesting Ryan nick was his name and that's funny because the actual name of the Tin Man is Nick when he was a human nothing his name was a Nick chopper his story is very grisly in the story of Oz so we're almost done here at this point into the drawing I wanted to make it more of a softer scene there wasn't much I wanted to push too much on I just wanted to make it seem like a moment of kind of stumbling across the tinman in the field where he's been rusted shut I'm gonna bring us some watercolor I'm going to be using these uh water brush pens or just water brushes that is and let's look to go into that well it's not really much of a story this is a character from the world of Oz who was the Tin Man and the Tin Man was the human that was turned into what really turned into he was eventually converted over to being a mechanical man essentially and then the Alice in Wonderland story we see him encountered by Alice now Alice I'm sorry that house of one know him Wizard of Oz got my story stories mixed up there dorothy comes across some brands of sketchbooks that will recommend one the specific sketchbook that we use in my classes is from a company called cottonwood arts so how you would spell then I'm sure some of you guys have heard of them before but look up arts sketchbooks oh yeah I am making a book but that's separate this is nothing to do with that well the book I am making is a collection of lecture notes from lessons of my classes the dynamic sketching approach thanks for the suggestion right I'll try to figure out how to do that I feel very old sometimes about new technology and platforms that say it's not hard to figure out I'll be self figured out but as soon as you kind of began you're like lost that's what you're doing I'm just not going in there and saturating it with a temperature kind of imagine this where take a sunset so the color gonna be much more than yellows and oranges and reds with a little bit of cool and shadows the background be more pink and purple ish so I'm just gonna laying down a temperature of color right now washes when it comes to water color just washes well that's somewhat book on Amazon if you're talking about the dynamic Bible the current water at the moment it is not on Amazon because to sell on Amazon you have to have it in their storage compartment which costs a lot of money and I'm not a big publishing house or a corporation everything's kind of doing everything self-publishing by myself I have a storage facility in the printer in Korea which I sell the books out of my own storefront on Shopify but currently I know I'm out of stock of that current book but the next book will be published by super Ronnie and so that next book will potentially be when I was on because it'll be a much larger distribution so the next one okay so imagine this the the first one I put down essentially carries a lot of the very general notes that I cover in my class but they're very general okay it gives you good information on all the topics but it's only a few pages perception the new one only focuses on two or three subject matters based on what we do in the class we look at something in observation organic things mechanical things and we draw them at a very not a primitive level but in a level that helps us retain the information to build this really strong sense of visual library there's the point of the class and so the next book goes more specifically into two subject matters the beginning of the book will always actually will have a more detailed note on exercises and practices things like the ellipses and things like the line work and the hatching all that kind of stuff and the basic rendering techniques will be covered in each of those books but the specific subject we've broken down with a lot more information and density so that's kind of what the next dynamic Bible will do in the next the book of it the two subjects are focusing on will be one on organic and one on mechanical so it would potentially be on like one let's say like a vehicle for my car's another one will be like on organics like insects or something like that right so the entire book we focus on just those two subjects but with more specific breakdown that's the idea then I studied comic artists to learn inking with felt-tip pens not really now I looked at a lot of American illustrators and also European illustrators back from like the early 1800s to 1900s looking at their illustration styling some comic artists you know go do a covers and stuff I look at a lot of fantasy artists is MOTU guys like Frank Miller not Frank I'm sorry Frank Frazetta so have I worked with King jeongae before terms are like that question like what degree I wouldn't really say that we've worked together we've had many conversations we've hung out and you know every time he's in town we sorry cameras off we would get together but um in terms of actually working on a project together not yet but the book I will be producing will be done through their publishing house but next year at comic-con in San Diego I will be sitting next to him so we'll all have one big booths yeah I was thinking out there at comic-con for this year but for next year I'll actually be at that table so Lee so Jay and trim to answer that question in my recommendation it could yes it could because the first one gives you a lot of the very general information that coverage of overall things and the volumes that come out next I'll be doing series of them you can pick and choose the one you want because I'll cover many different subject matters but the first one definitely will give you the more broad overall idea of the class and the format which is what I wanted in the first place but I was also again one of the the feedbacks I gotten is that they wish there was more information per subject but I very much that purposely on the front page of the twitch or / video yeah I think I have to edit that I thought I did already but I took this whole thing in seems like what the description was about but I'll look into it again the front page one okay and thanks for the feedback on that and that's also when I typed in on the OBS stream information I typed that in actually let me see if I just clicked on update information if it'll do it but but I can see that on the live show I also twitch open right now it doesn't hasn't updated it that way so yeah there's a lot of miscommunication happening between the actual streaming program and actual twitch this is the first time using this ever the camcorder with OBS so I just kind of fired it up and just at a moment even just like trying to figure out how to connect the camcorder to it you know something with the resolution that dissolve out first before I started reading it through the chip with the Carter anyways we get there this one was definitely a little bit of a test run for me with the new system last couple of ones I thought were great but in my personal opinion I thought the videos were very low-quality my thoughts no they were very pixelated even though they're like 720p off the phone when I replayed them it looked really choppy to me so I don't like it that's one of the things that will also distract me from certain platforms like if it's kind of hard to figure out if it takes too much time to set up is like I want to do it you know come to the point like we want to plug-and-play kind of thing but granted obviously understand that production values need to go up with more time investment and research but I'm just one person you know I only have so much time to sit there and research everything which I kind of had to for this honestly in terms of how my life is so far it's fantastic I have absolutely no complaints doing everything I've always just wanted to do which is create for myself you know work with people feel absolutely confident in the things that I'm doing not necessarily staying on the best but completely happy with what I am producing can there be things that could only be better sure absolutely absolutely but that doesn't mean that you know it doesn't break my absolute level or drive an interest in the things I want to do no certain price we put out there or things that we produce could always be better in quality where I wish made more money here or that kind of thing you know financial securities are so nice to have but at the same time it's not the main priority in the goal is just one of those outcomes eventually hopefully it'll get better over time you know but be able to travel the world and talk with people and have actual people even interested at all there's nothing else you could you know really asked for honestly anybody was out there at the end of the day if you're you know having the ability to just control the things you want to do and people are willing to just listen and engage and talk to you then you know I think that's you're in a good spot now for me it's you know happy just with that any particular visual inspirations from film or cinemas that I like well of course I would definitely start with some of the classics you know studies on Akira Kurosawa is highly recommended and I'm sure a lot of you guys are very aware of Kurosawa's films if you have not watched a lot of Kurosawa films I would recommend it highly the first time I watched a Kurosawa film was in high school when I was like 15 16 years old obviously a late introduction to some of the great for some people but I thought that was you know soon enough and I watched your Jimdo for the first time at a film study class in my high school actually it was a kind of study on you know just films in general the the teacher was a really big into films and cinema and also that director kind of introduced to us it's amazing then I watched the whole series of his stuff afterwards but he's definitely a master class and you know directing and editing and character and story and cinematography all that stuff he got handled everything and he's a huge inspiration for a lot of storytelling you'll see these days and some films but like I said he's one of the classics and you can't go wrong with that but there are many others out there you know you can top off all those cinematic you know directors and masters that are out there guys like Kubrick and whatnot and I do like their films a lot too good to be quite honest but I still love you know just stupid movies also you don't have to be these cinematic master classes of any type you know they're just fun movies just for the energy value in the story even though definitely watch those two you might have to restate that question again walking pogo stick about how did you you know what's the achievement that feeling of filling without external validation come and give me a bit more detail about that what do you mean and maybe some examples because maybe I had I'm not sure exactly now in terms of how I can explain that part but maybe just a little bit more explanation for you helpful for me again laying down some general washes right now we're going to a specific details into the tinman right after this yeah the gallery that you might have found it on I know that one gallery store does have the copies of the dynamic Bible still and they're called the pop secret gallery I believe it's a gallery store in LA that's run by the Society of illustrators and I do believe they'll ship internationally and of course I'm sure you understand the cost of it is not pleasant but there was another place that's in Europe and France that had a lot of copies of it but they sold out they had like 300 copies and they sold out of those so the book still kind of goes pretty quickly and fortunately well fortunately for me but unfortunately for other people I have a hard time keeping it in the stock but like I said you know we know the reprint this coming year and you know shipping from France would have been a lot cheaper yeah so gallery nucleus still has it let me see if it enemy just find a link for you guys of that particular gallery top secret gallery I believe don't know if they actually had a storefront online do not they might only sell through the restorer physically yeah I can't find a website nice to bed yeah a few copies at San Diego those books sold out you know within like the Latin you know the next were the the two or three days in the comic-con like I said the book is still kind of sought after which I'm very pleasantly pleased about and I it's been doing very well for me but like I said the disappointment is the fact that I can't seem to keep it in stock enough it is so expensive to produce the book was very expensive to make the paper is really really you know high-end and I'm planning to maybe even like adjust it for future prints where I can bring down the cost of the book as well obviously I favor a much heavier quality paper which I got watercolor paper but of course we're people that are out there you know the shipping cost so much and you know there are some people that are you know not necessarily having all the money in the world to buy all the books they want so I think offering a cheaper alternative with a lower quality paper might be better not a problem la can pogo stick I'm just asking for a little bit clarity yeah so I guess the point of that question was you know said something about where I have enough yet I still have the drive to improve you know you want to know how did you discover that feeling well a lot of it is because as much as I'm able to gain from recognition or materials whether it's even about making enough money working on certain projects or with people but at the end of the day now I do it for me I don't do it for anybody else you know and so the work that you guys have to produce for yourself in the future again is for you I guess kind of a good analogy to this it's like if you are student of mine okay and you're in my class right now and I gave you homework I said this next week I want you guys to be able to produce you know 20 pages of drawings and you would be like 20 pages you know like that's a lot of drawings per week it's like it is it's very heavy load for some people on top of many other things you got to do for other classes or work or whatever cases now most people will of course get the work done right they come into my class at the the following week they hand in the homework we take a look at it together but the problem is it's a time that you put into it the scheduling for people that are not very good with their schedule obviously they kind of wait they procrastinate well they gotta work on the stuff priority is somewhere else maybe and so the quality of work may be declines a little bit now they do that because maybe you know their interest is waning a little bit or because they wanna they want to focus on something else rather than the class that they're doing with me and that's happened before nothing wrong with that people's interests are in many different places but what happens at the end of the week what you do is you finish the work and you hand it in and you got to finish it as fast as you can so what that means is you're finishing the work for me not for you you're just doing it because obviously I gave you that as homework right so you're just going through the motions you're just doing it as fast as you can there's no real care put into it that's obvious but if we had the different mindsets like you actually had the priority the time and the focus to put into it you should be doing the work for you when you guys are in my class if you were in my class what I tell people that you're not drawing for me you're drawing for yourself and if you can't even just enjoy just drawing for you then you're not gonna be able to find that level of passion and investment into it now if you're able to draw it for yourself and you actually care about it you'll obviously follow the guidelines much closer the quality of the work will gain the interest may maintain also in terms of consistency but like I said some people tend to kind of you know grasp it at different levels they had that moment of you know that light ball that goes off a little bit in different sections of the time and some people kind of don't really assume or expect it to really like it the way that they thought they would so as people are introduced to it they start to see the results and maybe over time they kind of see the benefits and the long-term gains is they begin to fall in love with the process and then they invest more time into it but in the beginning maybe you really don't know so that's also where I find myself I'm able to maintain that same level of energy and drive it's because I produce it for me not for anybody else because I love it doing that you know doing it that much and if I maintain that mindset continuing it for the rest of my life that way for me so question from my rock is you know did you ever have an aha moment or learn a concept that led to a biggest - the biggest art gains once you grasped it I wouldn't necessarily the biggest art gains but they're definitely steady improvements you know another way to put that is that for instance you'll take a class whatever college or school you go to and you'll listen to it you might even try some of the homework but you'll sit and be like I don't get it I don't understand why this is so important you might not even like it and so you don't really care it's kind of pertained to what we're just talking about right now you'll take a class like even when I took a class at art center that had nothing to do with what I really wanted to do I didn't care so I didn't really focus on it as much as I probably should have but some of the lessons stick because you know they kind of pups back in the memory I'll be doing something for like a professional job and all of a sudden is like oh that's what that person was talking about you know some of the things will be things I can color my color was never really a thing for me like I understood it but I wasn't much more of a trap I just loved drawing I loved lying I loved shapes color was such a perplexing thing for me and a hard time grasping it and because it was so difficult my interest waned on it but later on you start to see like man colors because he important you know and I start to see the benefits and application to him when other people are using it even on a professional level definitely so when I saw the happy is like oh that's what it is you know so I become much more conscious of that anyways that's kind of those moments that you've got I've had a little bit of but they're never worthy like big jumps or like moments are like oh okay I completely understand now it's just gradual you know growths of changes and understandings of things and you you have a memory of something else and it pops up and like mix you just kind of like step back a little bit and realize what's going on so it's about a 743 right now and I'm gonna keep going until this is done actually but we'll see how much longer we go we put a little bit of rusting color on him as well a couple of whole saturation spots popping up top five greatest artists alive alive right now well obviously does depend on certain disciplines and industries as to where you're coming from but you know overcomplicated let's just say top five in my personal opinion right now within the industry that we focus on as we have mentioned before I still feel like Eliza or Alisa Ivanova is definitely on that list I think her work has a sense of like subtlety and emotion and technical prowess and really just amazing level of control that I really favor quite a bit another person you know a second would be kind of someone similar and that seemed kind of vain is Claire Claire modeling I think she also is on that same kind of level she's obviously a bit of a different generation where I'll ease a bit younger and Claire's a bit older and she's been around the industry for a long time but Claire Wendling is in my opinion also an incredibly incredibly gifted individual but just think you know amount of investment of time of skill that she's put in definitely shows in her work personality wise she's did a complete opposite of someone like ELISA you know some people are a little bit in tainted by Wendling just by a bit and you kind of see her in person I've hung out with her we've spent some time in and she's actually an incredibly wonderful person and but again people have go by first impression sometimes a third on the great list of artists that are alive currently Terada cacio toronto was one of my favorites always as a kid that kid younger person teenage years someone I also imitated heavily Katya Terada is currently in LA right now I'm gonna be doing some live drawing didn't want already at one of the book stores will be doing another one I think coming just this weekend my you should try to go watching I'm not sure if I'm gonna go make it this time around but he is definitely an icon for me another one is one that's not necessarily known by a large amount of people or nor nor a lot of people that I know of mike mike ruppert community of friends here's someone i found a couple of years ago and he's much older gentleman he's probably around 85 86 years old and I've posted about him on Instagram and people may know what I'm talking about if you follow me but he goes by Jean Luc vagin Jean Luc was an artist from Belgium he was born in 1934 and he grew up at the time of the Nazis invaded his hometown was 5 years old he escaped and grew up in Belgium but he ended up working as an illustrator in aviation he loved aviation and a lot of his artwork and prints were posted in magazines for the Belgian some type of magazine for them and to this day he still does some stuff with him he's like in his mid to late eighties now and I met about two or three years ago and I've seen his work before a lot of his prints he's amazingly complex detailed drawings of interiors of comfits airplane cockpits and I fell in love with it jean-luc yes here I'll spell it out for you jean-luc begin jean-luc ISM again he's based here in California and San Pedro and he's still active in terms of like you know producing drawings and whatnot and he was again well known for his cockpit drawings but only within the world of aviation that people know about him the common you know a young person an artist had never has never heard of John Luke he's put out one book just like me a two years ago through a publisher and in Switzerland and it's not produced in the u.s. it's not available so again people here wanted no bottom can't really find that book so what we met at the air show there's an air show here in California in LA called the planes of fame air show and it's all these classic World War two airplanes that go up and so I was sitting with a table with my publisher at the time who was the same guys that produced his book and he came to the show one years like two years ago and he told me his name and everything and I found out that he was the one that made these incredible illustrations and so we got to talking and we'd be good don't dis no a friendship and your conversation and whatnot and then I would visit you know him in his house I got to know his wife and there was a couple of kids and whatnot and I would stop buying these you know we just hang out and he would show me all of his original work he'd have like mountains mountains of drawings in his garage it was just incredible all these originals but like I said it's like he hasn't really put himself out there so not a lot of people know about what he does but he's out there you know he's incredible and I'm actually trying to actively get him into a gallery the one at gallery nucleus we've talked and I want to get him in there as well too but to show some of his original work the problem is you know John Luke won't sell his originals and then gallery shows you need pieces to sell essentially so unless it's like an on selling show which most galleries won't do because they want to get some type of you know return off of the event but like I said we're trying to negotiate or something like that so John Luke would be third no fourth fourth fifth last person living one of the greatest s'right now I can think of man's to heart because again even though I have this five there are a mountain of other people out there who are incredibly talented I'm trying to think of another one right now I'm also thinking about it more from like a draftsman point of view not necessarily like painters per se because again that's the type of artist that I focus on he does have social media he started up by Instagram just this year so he's only been building it very slightly and he runs it also I think his daughter helps him out with it because again you guy you guy is much older he's very you know a tooten astute and very focused and clear minded he's very much still there and again like I said he's very active in terms of like still producing work and drawing a lot so yeah John Luke is awesome great guy and the meaning I have a video a collection of videos that when I visited his garage and we will sit down and talk I have an interview with him actually so I haven't really put it together just seeing it and I was actually looking for it the other week and I really want to cut it together and post it somewhere like on YouTube or something so it's interview about him about its history how he got to art all kind of stuff so but he does go by jean-luc begin on Instagram and you'll find them on there I need to also adjust this in one second no matter if I can do it live the video is just a little bit of washed out just slightly but I want to see if I can adjust this real quick video let me see if I can bring down the brightness just a little bit just you can see the image is a bit better stick it right there yes that's it jean-luc begin fish fish damn it there's so many to choose from I'm trying to think of ones at all so I'm really just kind of connected to then not necessarily are kind of the coaches for everybody well I'll see you trying to get like a comic artist that might be really good to think of playing a little bit of rust nah not myself I mean of course I would want to say guys like King jeonggi because the guy is prolific and what he does but it's obvious notes like yeah of course it is crazy good but I kind of want to mention someone else it's not necessary so obvious quit Mullins is someone who definitely worth looking at but you know he has different things that he offered that I think really altered the landscape of our entertainment design so I don't disagree I think Craig Mullins has definitely had an effect within our industry but in terms of like my interests Craig was never really a big influence you know what I would say gurney James gurney because he is someone I grew up with as a kid well what I find about amazing with gurney right now is really how active he is an engagement with his audience he's someone I never thought like you would see his stuff you know acting on social media like he does so many tutorials and posts on Instagram I was always kind of shocked when I saw it because he's someone I grew up with so I see this as someone like really kind of out there you know like he's kind of into ether and only people internally really know about him or know him in general but the fact that he's so active what he does and I think that's what I also really really gravitate towards are people that are very still active on like putting stuff out but active on producing you know stuff like making their own thing like a lot of these guys don't really work for studios you know they don't really work for companies anymore even like Lisa Lisa left Pixar went on her own you know John Luke works on his own katja tirado works on his own all these guys are very independent and they produce their own thing actively constantly so guys like James Gurney's also some of whom I think could have just been in the studio or working in his office and kind of disappeared you know a lot of kids may have like seen his old book so try not to opieop but maybe would have never really known him but the fact that here he's as active as he is it's kind of like kept this name really valid enough to say that it wasn't valid in the first place internally you know what's in our industry people everybody knows who James hernias but for the layman for the common audience people just out there would know what Donal topia is but now can have really full access to where this guy is also so I definitely would consider him to be you know currently one of the greatest at the moment because from a aesthetic standpoint it's incredible from a technique standpoint again really amazing techniques but also just as a human level and also just on the way he's able to share and connect to people I think is also really incredible to that's not the easiest thing to find when it comes to this kind of field where you have someone you know who is good but also very active and engagement and beauty what is like the people that lives around you know in this field I'm sure you realize things like pride and ego can come up and it does generate some individuals that are not necessarily good to be around you know or very nice to be around but I do feel that James Carney does have those attributes he's just someone as an incredible person it's another of my five living in my opinion greatest for the moment our list for sure I find even things like movies to be incredibly hard to list like I'm amazed I'm able to select five out of my head right now it's one of those kind of impossible requests of things like who's your favorite that have been arresting on there we're gonna make sure that acts in the background is dropped in the value a little bit so that way there's a silhouette bodyform stands out just a little bit how fast do I fill up in every sketchbook well not as fast as some people might think and the only reason why is because I juggle like five or six different sketchbooks at one time and each sketchbook kind of has its own specific focus behind it for instance this book I'm using right now is more of my everyday go-to book and it's a very large format ms:i honestly it's like a more than 9 by 12 I don't even know what the size would be actually like a Aden up 11 a standard size this is 8 and 1/2 by 11 it means you met a little bit so this piece of paper is aiding that by 11 okay so this sketchbook is definitely much larger than that I can't move the camera around too much it's locked in place but still this is just standard size so this book I'm using right now is much bigger I picked up this sketchbook when I was in Austria doing my workshop out there in Austria it's a brand which is known out there in Germany and Austria called bosner bo s NER Mo's nur so this water brush pen I'm using right now is also Posner so this one I picked up because I was just at the art store and I just bought it there so the sketchbook I found I'm using right now is made from the same company so the last book I was carrying around as a everyday carry took me about I would say but maybe nine months close to a year to fill up completely and that was over 245 pages that sketchbook and that's on top of other sketchbooks I'm using so like I said produce a good amount of drawings I think if you just kind of broke it down just on average you could definitely say that I have enough joins we could say it's a drawing per day in a year so I definitely reduced well about 300 or 400 closed puppy to 500 drawings a year and who knows maybe more than that I'm just kind of thinking off the top my head from sketchbooks now this is from like demo books to personal books to you know professional work that I'm doing as well to it can be quite a bit nyan asks do you think drawing is something you can teach yourself or is it better to have someone guide you yes you can teach yourself everybody teaches themselves at some point in the feet and you wonder young when you're young you imitate you copy that's a form of learning that's a form of something that you're doing to help understand how to do something okay from there as you get a little bit older you can look for resources online information and books and different tutorials and videos and that's another form of learning that you're just practicing and that's also some you can pick up on based on imitation based on what you're seeing and any form of study again is a form of imitation copy remember do it again and then apply but does that mean that you know if you are learning by yourself that you're not gonna be as good as someone who's going to like a school not necessarily I think you you learn differently and you miss out on certain things but that doesn't necessarily weaken you because what you then do is you adapt you find different ways of problem-solving that potential issue that many artists will face at the same time if there goes to a more formulaic method of school also learns a lot of these lessons but then also missed out on things as well you know which is being independent which is not being us solve problems on their own and not relying upon someone to give them the answers of something you know so there's benefits on both ends and I think honestly using both sides of it worried you should be very proactive on trying to actively always learn by yourself at the same time you should take advantage of the schools and platforms and educational you know directions that are out there in any sort of format online or physical schools or you know even just tutorials and streams like this so each outlet has something to gain from there's no one spot that's going to give you everything at one time there never was but now it's just that we have many more options in terms of how we can do it back then you only resort it to one because that's all you had so um since an art a ask what's the draw to practice it doesn't matter it doesn't matter what you're drawing to practice the question is are you just drawing in the first place you could be drawing people you could be drawing shapes you could be drawing animals you could be drawing something out of your head you could be drawing think of something that you saw some another artist it doesn't matter what you're drawing the question is are you drawing right and are you drawing every single day that's it what's all this are you the type to have pages where there's only some small thing in the corner every bunch of pages not necessarily I mean this is you know the entire sketch page right now I mean I can even go through the sketchbook at the very moment if I just zoom in a little bit I mean this is a book I had just started so I'm only in about see how many pages we have for this particular book I started this book literally less than a month ago okay here's the first page here's the second page is 2/3 so you know this particular book that I've been using on top of Gemmell joins I would do in class workout with you professionally other stuff that I'm working on you know you're probably talking about you know a drawing per day and this is a full-size piece and I'm doing right now The Sketchbook name is a company called Posner is a company those never bo e s NER I don't know if you could find it online I found that at the art store in Austria I probably picked up another one because I might be back in Austria in April so Jay in terms of like my classes buy online yes Shopify my storefront will be selling the classes through a limited number of seats and then it's no test there's no interview anybody can take it to whatever degree of level of experience and that's it so its first come first serve when it sells out it sells out so this paper actually is pretty thick this is a probably about a sixty pound paper it's kind of a slights cream to it it's not like sparkle white as you can see like even this some copy paper is much wider so it's got a little bit of a cream to it but it doesn't really affect it it doesn't buckle a little bit as you can see from the paper let's look at the back side of it it buckles slightly but it's not completely bleeding through so as I you know let it dry and I press it down and close the book let it sit overnight it'll flatten now but this paper is very much like a hot press watercolor paper so as you can see in some of these areas like there the the fibers of the paper are kind of picking up so this brush pen as I work into it it's rolling the paper into little little balls like that so it's fiber that's coming off and I personally don't like that but it doesn't necessarily break the feeling of the drawing for me or how I'm doing it it's just a small little annoyance anyways let me even zoom in closer closer shift this sketchbook I can go a bit higher if you can kind of see how it just looks up close do I usually have something in the background when I draw typically when I would have like a movie or a show going on actually I've been reading The Simpsons again because I do have Disney Plus and they have the entire you know season all the seasons of The Simpsons on there so I'm watching from the very beginning again and kind of being reminded how amazing the the shelter Simpsons is I'm not only on season three I have never watched an episode of The Simpsons lately at all in the recent maybe two years three years I haven't seen any new shows I refuse to see him but the old ones oh my god they're so good I would not be teaching down in the sketching on CGM a in the future simple as that I will be doing the mentorship but I would not be teaching the classes they're the only place you'd be to take the class online with me now it's through my own classes and when i zoom out a little bit sick and kind of see how mixing colors as well you know as you guys come in here it's good that you continue to engage with each other seems like some of you may might even know each other and if you do you know using this opportunity to kind of like talk and engage in it with others as well building a network getting a sense of like how people approach things like what you guys doing right now I think it's actually very favorable stuff the big benefit you know classrooms is that opportunity to be able to actually work off of each other having that comparison is actually according incredibly important I know that things like competition can be scary for some they think that oh I'm not gonna be as good and you want to be better because based on that you you come off stronger or you feel like you can you're confident but like I said in any sort of classroom situation you actually want to be the weakest in the class and by having that approach the idea is that you want to always look for others that you're looking up at and be like I need to find some way somehow to get up to that level as well so whatever it takes you know time you know if interests focus networking groups of people constantly working on hours with time whatever the case is I think it's important to get that kind of like you know comparison and it's friendly competition yeah I guess you're also helping others out each other out you're not necessarily squashing each other but just something in mind little plants and flowers with a background I'm actually almost done with this so it's my 8:10 at the moment I probably end up going for 15-20 minutes more and then we'll call this session good for the moment because honestly I know I want certain things better for the next feed audio wise and also video wise I definitely want to figure out this power solution in terms of its sleeping the audio I don't know just yet hopefully I can find somebody to solve that because I thought it would order automatically because I'm using a really good mic but sucks that's not working so well yeah what's nicely cuz it's the same mic I used for my online classes and everyone inside that sounds great but I don't know why the stream is making it worse it might be something on OBS but I'm gonna look into that other streaming platform the stream elements and maybe that will help in terms of quality yeah I think I want to try to do next time just let the audio go off the camera instead I wonder if I can even do that down in one second let's see what happens it doesn't seem like well no I can't do it because I turned the mic down on the camera so there's no audio going into it well there is but it's muted so next time it did and I looked at that nikkor art the twitch version of it but they don't have an audio option for the camera or if they do I'm not seeing they have it for a live feed where you can record up your screen but not through a camcorder thank I look through it for really a long time and there either I'm just not seeing it or I don't know how to work it properly so no I have a dedicated mic I'm using the Yeti the blue Yeti professional one it's hooked up to my computer right now I have it as actual input audio input through OBS and it's capturing the audio I see all the actually two audio inputs going on so I don't know what's going on for that in fact let me see if the desktop audio no that won't you anyways yeah now I have a good mic I spent you know $150 on it so well it's a medium quality mic but good enough it should have been good enough but again like I said it works well for all the other things but for some reason right now it's not working so well it's the Yeti the why ati brand Yeti brand it's the blue one the professional it's a good mic I didn't like it quite a bit but like I said I'll test out other options or I'll try to you know fiddle around with the audio settings in the future which is disappointment because I wouldn't want to just switch to something else if I had this great mic and I bought it and I can't use it that would suck no I see one though it's just one it's the same one like even if I increase the decibels it's not really gonna help because I think you guys hear a lot of static and noise like I just increase it a little bit right now filters no filters properties microphone Yeti everything else seems kind of default so anyways that's so weird a lot of static noise because there's like no other noise in here and wonder if it's because my nan I wanted to get whatever again next time don't figure it out well does anybody else have any last comments questions things want to get into before I leave for this session for a reminder for someone viewed that join deliver later on I will be back for Monday because I plan to do two streams a week and hopefully next time everything else be settled technical wise I hope you guys are enjoying at least you know some of the information that's being thrown out please use it to whatever degree you can especially in terms of the lessons in the beginning for those of you that missed it I will put up that snippet of it in the highlight section later on tonight and of course I do appreciate people coming in just sharing thoughts and asking questions engaging that is the whole point of this kind of a streaming purpose but again I do apologize about the technical aspects it first time using some of these things so hopefully it'll smooth out as we go into the future with some of this stuff appreciate you guys thank you again so we are pretty much done with this piece with the 10min I shall even show you one before this is a 2-man from before he's terrifying and so I did this one yesterday I was like oh man like it's kind of scary-looking kind of made a reason like almost Joker like so I didn't post is I'm gonna finish it and I'll do it it's like okay I'll see what happens but I you know got to a certain point and in technical parts of it looked okay and I didn't mind it but some of the proportioning I'm still like like whatever and I'm not sure about the the creepiness factor of it it kind of happened that way because I made his eyes back he was like he's I kind of turned off a little bit so I really want to go for something a little bit more charming I guess which is what I want to go for something like this I don't know somewhat the same but not really so last question for wool for art is how do you avoid burning out what do you do to feel refreshed like live drawing or traveling with a sketchbook are those all those things yes a lot of it is getting out of your room so I leave and I go to locations I'll go to like a museum back to a zoo or some you know spot that I can go take photographs or draw or even just go to a cafe or bar or hang out with friends if I need to I don't want to stay locked in my room could be just stay inside and try to solve it by is kind of hammering through it's not really gonna work that's where you burn yourself out because you're forcing it and you have to get into that mindset where you don't have to force it it just happens because you want to do it you know so that's one of my main kind of advices is to get out of your element and to leave and kind of refresh yourself through other means you know through a visual stimulus you can be like you're watching a movie engaging with friends having a social time that your brain can recoup a little bit and you might think but I'm wasting time now I shouldn't be doing that I should be working but you have to realize when you work that way when you finish it it's not gonna come up to the result that you want to and then if you spent a little bit of time even a little bit just for yourself for doing something that you know they encourages you that builds that visual library or interest and excitement or inspiration in the long run it could have a much more positive outcome it'll also make you you know produce more work better too so in my opinion I think having those external you know interests are very good thing don't think of them as distractions and I think what people also get mixed up in is I think of them as something that they're guilty about but they shouldn't be doing but that's not that we have to think about it it all experiences anything that you do and to your understanding as an artist storytelling wise whatever the case is so if someone says hey let's go out and draw somewhere else so you should definitely always say yes okay don't say oh I'm busy I'm working on something go out and do it even if it's only for an hour or two I think but people think is like oh but I don't leave my house I'm lazy well that's something you got to change yourself you know it's like if you're too lazy to step out of your room that's something more internally for yourself that you to get over and I know a lot of friends that are like that it's like gone home come I'm gonna go out but for me I always want to make a way to get out there you know but that's again one of those things that you have to do think about yeah I don't know if you can download the videos can you because if anybody does have the first the very first stream that mean great cuz I don't have it I missed the download of it so this appeared on me I only have number two up till now so exactly that's what people say that's why the hardest time in San Diego when I was in San Diego I would try to start my own classes and have like workshops and stuff and I would run them and nobody would come out nobody cuz they're all comfortable at home like I don't want to leave and drive 20-30 minutes somewhere you know but that's the thing man for me like even yesterday I went out to a drawing Meetup next week I'm gonna do another one I meet up with friends everyone's age or Thursday's I go out I have to what I'm gonna do a little bit about tree and branch in the background just to break up this composition a little bit kind of just saw that in my head well briefly and I just felt like I had to put it in there somebody asked a question about livebox - I won't definitely be there for next year I haven't signed up for my table just yet for professionals or people that were there for this year they've already sent down a link to apply for a table I haven't done it yet I'm not in any rush honestly so I applied for it sometime next year but yeah with the PV around and I have a lot of traveling to do starting an April going into all the way through September I'll be in some country I'll be in Rome I'll be in Austria I'll be in Paris I'll be in Australia Noby and there Croatia having in quite a few places oh you've heard of mixed things about lightbox well I will say that it's dammit sorry I will say that it's a it's a great show for general purposes of like art design animation it doesn't have a specific focus to it so because of that it's more for the general still students can engage and take advantage of the fact that you have a lot of different kinds of artists there so I think it's a good show for that I know that the like the workshops and stuff like that weren't run the smoothest but no show ever is especially for the first one I thought they did a pretty good job they could have been much worse honestly much much worse but hopefully they'll solve a lot of the problems for next year which I saw I ran into a myself when I was doing my own workshops you know networking educational they have a lot of artist alleys they have a lot of professionals showing their work and selling their wares books and prints and whatnot I was there selling a few things but not really a lot I didn't really have that much anyways so I just kind of showed up more for networking I just set up a monitor in my table and I just drew mostly and then I did I like a couple of series of workshops and talks it was good but again my experience was things like the workshops in my personal opinion could have been a lot better run not from my ed but more from more lightbox there are things technically they're just gonna fail they didn't have enough people and the spacing was too small and the people waiting in lines for hours on end some of them didn't get in but they weren't told that they couldn't get in you know until the very end of it and so they're sitting there waiting for hours for nothing so I think they can do a better job on that in terms of communicating you know and then that's been a problem a shows if they don't communicate enough to everyone for instance that one of the workshops I did for the sketching with intention you know we had about a hundred and something people waiting for it but the room has a certain capacity they know this but if you know there's a certain number of people already in the crowd you should go to go back there saying this is the end of the line there's more room for it but there's nobody there you know not until you get to the door like oh they were filled now you can't come in that's ridiculous my opinion yeah grand say it's free you're not really paying for it but still it would be helpful there's a little bit communication you know just as courtesy for the show exactly and I don't think that shows a lot of coordination you know again like I said they can argue the fact that hey we're not charging anything for this so but still just for common decency being on that make people understand how things are working they should do that I would do that let's hopefully learn and so that what happened with my workshop was that I came in and we're doing the lecture looking the room was filled to capacity and we started up ten minutes goes by and I hooked up the projector to my computer to kind of show some images and the the damn HDMI kidding broke this snapped it was an adapter piece so oh shoot that's not working so they had another one a backup and plug down on it and that one broke because they had been used for the entire show but you know constantly so they were just worn down so there was nobody in the room that support me just a cameraman and so he comes up and tries to help out and they call people then and we're spending 20 minutes trying to figure out how to do this thing and if I'm finagling it you know and just not working and so I literally said we're getting the hell out of here so I picked up everybody in the room and left the place and they were still playing with the projector I said no forget it forget about it so we just left and so I took everybody into the hallway of lightbox and we just did the presentation there on the wall I just put up a big piece of piece of paper and just talked in front of people now of course it was a fire code so like no you can't be here there's no fire code that kind of thing because it again like a 100 people sitting in front of the hallways Sarah where can we go I said we don't know sorry I look for a spot and I grab everybody again we went downstairs and I found this little nook and we just kind of crammed everybody in and again it could have been a fire coated issue but the people just let me did what I was gonna do and honestly I wasn't gonna care what they said I was gonna just keep going and I did I just talked for them for like two hours straight you know granted all supposed to be only an hour but I sat there and just kind of you know talked with him as much as long as I could don't worry about that one yeah so again it's like that's a very frustrating woman for most artists or at that show if something like that happened honestly it's like they would have said oh this is the end of my time I'm like unfortunately it didn't work out let's see you next time they would have left you know well I knew that I came in that morning there was a lion people there it's like I can't just leave that's not really gonna work that way it doesn't make me look you know obviously professional and it doesn't make white-box look professional I'm representing lightbox in a lot of ways too so if this is gonna work I have to sit around and make it work so that's what we had to do no matter what people said so I mean that's where hopefully we'll make that kind of experience of livebox order for people to come back to that's what I want I want every show to be you know a very positive experience for people CTN lightbox whatever show there is anything I'm engaged with it's got to be something that people are gonna you know obviously get something of their time investment because you guys are the ones coming all the way out to see us and supporting what we're doing so obviously know if artists are not willing to engage on that same level of intensity then honestly they're not doing it right anyways I had to add a tree so I took that wood had created a nice little composition to this so now I kind of like this approach because it makes it feel like a Bill Watterson piece like Covenant Homs all right cool well this is how we'll end a little bit of talk a little bit of questions some technical problems thanks guys for sticking around it was a good amount of you that came out and watched this I'm glad for all the questions and engagements it's good to see some of you guys networking and connecting together we'll be doing it again on Monday evening time and hopefully by then we'll hopefully solve some of the issues and we'll talk more then all right so thank you guys for showing up and enjoy the evening day morning what are the cases wherever you're at and if I don't see you on Monday hopefully in the future but I will you be definitely back on next week Monday and Thursdays evening time so thank you guys I'll see you guys in

Channel: PeterHanStyle

Views: 63,955

Rating: 4.9750733 out of 5

Keywords:

Id: TiVxL9iLNGA

Length: 145min 51sec (8751 seconds)

Published: Fri Jan 24 2020