Stan: Hey guys, this is Stan Prokopenko I’m
here with Marshall Vandruff and Stuart Ng and we have a pretty nice treat for you at
Comic-Con. Marshall and I met up with Stuart and found
out that he has an original Heinrich Kley sketchbook and immediately I thought "how
can I make a video about this?" and we found out that Stuart's gonna be doing a kickstarter,
right? Stuart: That's correct. Stan: And you're what are you gonna do with
the kickstarter? Stuart: Well, we want to create a facsimile
reproduction of the entire sketchbook. It is 36 pages of drawings, 72 pages total,
and the size of it is 14 by 20 inches and what we hope to do is create as close a reproduction
as possible. Stan: Cool. So, yeah, it's gonna be the same size and
you're going to try to make the cover look the same as well? Stuart: Exactly. It'll be three-quarter cloth with these plain
boards that are wrapped at each corner. We're not going to scuff it up but we're going
to try and make it as close to the original as possible in every way. Stan: Cool. What we're going to do right now is, Marshall
who is a huge fan of Heinrich Clay, he's going to flip through, we're going to show every
page and he's going to just talk. Marshall: Oh yeah. Stan: [Chuckles] All right Marshall, take
it away. Marshall: Well, first of all, I am nervous
because I’m in the presence of a real Heinrich Kley sketchbook which I’ve never seen in
my life until the summer at the Comic-Con when Stuart said that he was acquiring one
and then he had acquired one and he gave us a private viewing of it. I’m assuming those dates in the upper left
corner mean April 26 1938? Stuart: That's correct. Marshall: Okay. So this is late in his career and we're seeing
a theme that he did many times where he’s got lizards and reptiles talking to old men
and somebody lecturing the other. But what I was surprised to see because I’ve
not seen it in sketchbooks before is that he's not only got floral illustrations here,
these are done incidentally, for those of you who are artists, without preliminary pencil
work underneath them. They're done with dip pin and they look to
me, since I just read in these marvelous lost art books. There's a picture of this press that put those
out, and I hope I’m pronouncing his name correct, Alexander Kunkel, said that he'd
get up at 4:30 in the morning, every morning to begin working and apparently he would do
warm-up exercises, because it looks as if these are warm-up exercises and here we're
starting to see the stuff that we know him for, in this case, he's getting to be an old
man, he's probably close to 70 by this time and he's got a lot of old men, some of whom
are removing their heads and their flesh is falling off. Look at these, they look like his hands. I’m assuming if he was right-handed that
he was posing his left hand. But this is really not that exciting a work
considering what he's known for but the best thing that I get out of it is that if we knew
real life celebrities and movie stars whom we ascribe such glamorous lifestyles to that
we might find out that behind the scenes, they go through the same prosaic work that
everybody else does and live the same kinds of lives in some ways and here's what we're
seeing is someone who did stuff that was never meant to be published apparently, it was keeping
in shape. Stan: Ops. [L] well, we're going to publish it. Marshall: Oh, yeah, well - Stan: Or Stuart
is gonna publish it. Marshall: Here we are, the better part of
a hundred years and a full hundred years after the stuff that he's mainly known for, he didn't
know that we would have such tools as we have now to be able to do this as a video. Now, this one, he did this as a theme a number
of times where he's got a demon on a guy's head giving him grief and the guy in torment
over it and again, I just found out today in reading The Lost Art Press books how something
I suspected all along which is that he did sometimes the same drawing over and over. I had heard from Harald Siepermann back in
2009, he was from Germany and he told me that he knew people who knew about Kley that he
was known to have done a drawing and then done it again and done it again until it was
to his satisfaction and those were the ones that would get published, so that you wouldn't
see all of the false starts. Claire Wendling has said something similar
about how she works. But I have seen I mean, these I have never
seen these images before, I don't believe they've ever been reproduced before, but now
we're starting to see what people know Kley for which is incredible, out of his imagination
action among characters who happen to be animals but who are so anthropomorphized that these
may as well be people in conflicting situations and some of them are accommodations of the
two. He's done variations of this, the rhinoceros. Didn't he have one on a clothesline or on
a tightrope or something? Stuart: On a tightrope. Marshall: Yes and here they are on bottles. Lots of monkeys which I just assume, since
in some of the images of monkeys, they look as if he were looking at children in public
and deciding that they were monkey enough to turn them into that in his sketchbooks. I wish that I knew more about Kley. Not a lot of people know much about him. I will say this, when I first saw these drawings,
I was 20ish and I didn't like his work. I thought it was scratchy and messy and I
liked M.C. Escher and the Hildebrandt brothers and people
who put a lot of rendered detail and would put 20 to 100 hours or more into an image
and these look to me like he slapped them off fast. And then 18 years later when I was 38, I got
a chance to teach animal drawing for the first time. They just offered as a course. Don Lagerberg invited me to teach at Cal State
Fullerton and so, the first thing I did was "Okay, I got to get all the animal artists
of history and collect the books and prepare slides to teach this class" and Don said "Well,
don't miss out on Heinrich Kley". And so, I looked at Heinrich Kley's work again
in the two famous dover books that knocked me out because in the ensuing 18 years, I
learned something about drawing, I learned a bit how to draw myself and I also saw that
what he is doing is amazing. These are improvisations, these are like a
musician who decides to sit down at the piano not knowing what I’m going to play, plunk
out a few notes and see what comes of it and then turn it into something. Maybe with a preconceived idea, but he did
this hundreds and perhaps thousands of times. I mean, what I’ve counted, I’ve got about
800 Heinrich Kley drawings that I can name is that of a Heinrich Kley drawing and then
to find this sketchbook as Stuart did and see that there's still a number that nobody
has ever seen since his time and certainly not reproduced. Stan: I just want to point out how - this
just caught my eye how awesome this looks. He didn't outline the contours of the person
in the back, he did it just through you know, an indication of tone and he doesn't have
any pencil work underneath to plan that. He just kind of did that. It's amazing to me. Marshall: Look what he's got, he's that wedge
shape that horse artists use because that portion of the horse's four quarters are a
bit like a tombstone tilted back so that you get an up plane there where the light area
is. And then he knows, okay, well if her belly's
going down and if that's a plane break and with using these beautiful graphic vertical
lines almost like a rhythm, he's indicated not only the thickness of that horse, oh that
beautiful knowledge of horse anatomy too... The concaves on the inside of the limbs, that
hard plane break right there where that particular part of the - that's the wrist, that's the
carpal mass on a horse. He has got those so deeply in his mind. His anatomy, having taught animal anatomy
for over 60 semesters in colleges, I know it well enough to look at this and say "here's
someone who knows it so well that he's hardly thinking about it". It's in his subconscious enough to where he
can [Pencil stroke sounds] and he already is familiar with those forms. So much so that he takes liberties with them
that I have heard some people say "I don't think he knows anatomy of an animal that well",
actually no, he knows it better than you and so he's able to mess around with it where
it might look a bit foreign because it's grotesquely exaggerated. Also, look Stan on the back, he's got the
lines because she's further away. He's using atmospheric perspective just instinctively,
which he does over and over. He'll accent one thing in the foreground and
then things lighten up as they go back. Stan: I just think it's very impressive when
people don't immediately go towards outlines because you know, everybody or most you know,
beginners they just focus on outlines. Marshall: Yeah, and if you know his background
,he did the most beautiful factory renderings. I mean, it was commercial art of people working
in factories and machinery and all this stuff and they're painted, but they are - the perspective
is impeccable, the perspective is absolute top-notch, classic perspective. The kind that you would be trained in a German
Academy in the late 19th century. And so, he knew forms and planes better than
most mortals do. And then when he switched over to the improvisational
sketches, all of that knowledge informs things like organic. Again, look what we've got, we've got death
coming up to an old guy in a chair and Heinrich Kley was ill a lot in his older age and had
been visited by illness quite a bit. His beloved wife whom he apparently separated
from his family to marry her, apparently the relationship with the family ended so that
he could marry Theophanie Krauter and they were married for - I don't know how long,
maybe 30 some years and she died in 1922. And then he was remarried with a woman who
later was in contact with Walt Disney to help Disney acquire these. Another thing should be said about these,
regarding Disney; two artists of the 20th century who I hold in the highest esteem and
who my students might get sick of me mentioning them over and over but most of them appreciate
it are Winsor McCay, because Winsor McCay was one of the most astonishing artists of
the 20th century and he was a popular artist, a cartoonist. He invented Little Nemo in Slumberland and
Heinrich Kley, because Heinrich Kley is, in my estimation, one of the two or three greatest
draftsmen in the history of drawing of this kind of drawing. And both of them are ones that Walt Disney
expressly articulated his gratitude to. He told Winsor McCay’s son that if it had
not been for Winsor McCay, Disney animation studios wouldn't happen. They were as a studio trying to bring animation
up to the level of Winsor McCay had brought it single-handedly and then of course they
surpassed it but they surpassed it in the 1930s with all of the wisdom of the great
animators innovating at that time. Winsor McCay course has been left out of the
art history books. You get in that wonderful documentary of seven
one hour installments on moguls and movie stars which I’ve seen six times. It's a history of Hollywood from the 1890s
all the way into the end of the studio system, 1960s. And I think it was the second one. They gave a little two-minute perhaps spotlight
on Winsor McCay but it was so beautiful to see that commercial movies gave to Winsor
McCay’s drawings and I felt like - when I was watching, I felt like it was one of
my family members that was being spotlighted. I was like "oh, Winsor McCay I read hundreds
of them to my son when he was little". Heinrich Kley has also been neglected by art
historians. He just doesn't make it into the books because
what he has to offer is incredible craft which is not enough to make it into art history
but he also is a popular, I mean, this is cartooning. This is stuff that you would sell like you
would sell a comic book, even though these were more aimed at intellectuals, but he is
he's just not taken seriously and so, that means most people don't know who he is, they
don't know this work. A lot of people have seen the ice skating
alligators because those have been famous enough and most people, the first thing they
hear about him is that he had an influence on Fantasia, and he did have an influence
on Fantasia obviously. But I think the influence on Fantasia isn't
ultimately as significant as the influence on animators in general and the Disney animators
in particular because they saw someone drawing with remarkable ability to see the action
and the implied motion and with skill that is greater than most people, including me
at the age of 20, would give credit for it. Animators saw that in spite of the fact that
this guy didn't make the pictures move, he was aware of weight, he was aware of drag,
drag is where when something moves, secondary things like hair or drapery will drag behind,
he was aware of follow-through, where when something's moving and it stops... He was just uncannily in touch with the kind
of concerns that animators would care about and he also has been entirely neglected by
artists. Should I stop talking while we... Stan: [L] There's a garbage truck. Marshall: The garbage truck goes by. Yes? Stan: Yeah, let's just wait [Crosstalk]. Marshall: In my life, garbage happens and
maybe we should open up the window so they can hear it a little better. Stan: There you go. Marshall: That is one impressive CRNR garbage
truck. Yeah, it's Tuesday and this [Crosstalk]. Stan: [Crosstalk] is a nice image on screen. Marshall: Yeah. Stan: It's actually a really good one. I like the snake a lot. Marshall: Okay, we'll keep this one. What was the last thing I was saying? Stan: That looks like a donkey [Laughter]
with a horn. Marshall: Kley wasn't always the most flattering
in his depictions of people. As a friend of mine pointed out when we were
getting really excited about these some 20-some years ago is that "I get the feeling that
a lot of these characters, he didn't really like them." and he is willing to non-idealize. I mean, if you're going to do a unicorn, you
can make it beautiful and plump and pretty with bright colors and here he's got a nearly
emaciated donkey. Stan: That's more interesting, isn't it? Maybe he likes characters with more character. Marshall: I think so, yeah. Stan: Rather than just your average beautiful
you know, stallion or your average Loomis-head guy. Marshall: Yes, so there's grit and gnarl and
these are people who sweat, these are people who are in bodies... His celebration of the human body is amazing. The people look comfortable in their nudity
and their clothing and you've got frumpy types and sophisticated types and conceited types
and earthy types... Lots and lots of - Stan: Is it coming back? Marshall: Yeah, it's coming back. Well, just give them a little bit. Stan: All right, yeah. Oh it's just went right past [Crosstalk]. Marshall: Yeah, it just goes right past. Stan: [Inaudible] Marshall: It's a passive
aggressive garbage truck. A lot of mythical creatures. And another thing is just the productivity;
the amount this guy drew and every stroke has to be done with a pin that carries its
ink only as you dip it into a well. So, you may get one stroke or you may get
10 strokes out of one dip but it doesn't seem that there's any apparent struggle from it. Stan: Is that a pig flying through the air? Marshall: That's a pig flying through the
air. Stan: Is that a monkey on his -? Marshall: Yes. 60 years before Pink Floyd or 40 years before
Pink Floyd, pigs - Oh, I guess it's a British thing too, pigs fly and a monkey and a guy
chasing him and a demon bat guy and a frog offering flowers hoping to placate perhaps,
"don't chase my pig". I’m not sure what's going on. Stan: Do you think he was on drugs? Marshall: I don't think he was on drugs, no. Stan: Was he lonely or he just was trying
to have some fun? Marshall: He wasn't that productive during
his loneliest times and - no, should we bring up the thing on drugs? Because he's doing stuff that's fanciful like
Frank Zappa did in the 70s, everybody figured Frank Zappa was on, not just drugs but hallucinogens
because he did surrealism. And Frank Zappa stated emphatically that he
did not use hallucinogens, had no interest in them, he loved nicotine. So, he did use drugs but nicotine is a non-hallucinogenic
drug and there is an assumption when people do surreal stuff, when people see my sketchbook,
they figure "well, he's doing that on drugs". The only drug I had in me when I was doing
my sketchbook was coffee. People who do drugs do sometimes do imagery
like this, sometimes they do imagery that looks conservative. But no, I think, if I was gonna bet, I would
bet that he was not using drugs. Stan: Okay. Marshall: He was a guy whose imagination went
this way. How old was he? He was born in a 63, was it? 75 years old when he did this and he did this
more than once. I mean, this isn't exactly the same piece
that I’ve seen published elsewhere. But even this creature, I’ve seen that - a
creature very much like that. So, he's doing variations. Stuart: [Crosstalk] Illustrations in the mid-20s
of the same image but then he comes back you know, 10 years later and does this looser
drawing of it. Marshall: Yeah. Joseph Procopio is - Stan: You're not going
to comment on the fact that [Crosstalk]. Marshall: Just like Prokopenko, yes. [Laughter] I was aware it was like Prokopenko. This is destiny, Stan. Stan: Yeah. Marshall: He mentioned that - well, someone
in there mentioned, might have been Alexander, that he made money but he didn't make a lot
of money and he had to live meagerly and he had his productive times where he more money
but he had an agent or a rep or gallery owner who would say "do more like that" and so,
he would them to order. Stuart: Right he had the gallery in Munich
that would sell his works very easily and that he would, upon request, you know, redraw
something or go back to the same subject if a client asked for it. So, he had no problem doing three or four
different versions of the same drawing. Marshall: Yeah, it was commercial art. Oh, gosh! It's just incredible. Stan: Did he do much color? Marshall: He did more color than anybody realized
that he did because it's just come out [Crosstalk]. Jim Vadeboncoeur's images magazine, I’ve
got the collection down here, the first one that he spotlighted was what Kley did and
this is Kley and these things are still available, the Vadeboncoeur collection and they're called
Images Magazine and you buy them from him. When these came out, they introduced all sorts
of things nobody had ever seen before and we were thrilled about. So, this was just another treasure chest being
opened up. Stan: Is this watercolor right on top of his
ink? Marshall: Yeah, I think so. Stan: Okay, cool. Marshall: Yeah. And then when the Lost Art Press once came
out, another treasure chest. So, that's the example that's an example of
the kinds of things that he did of factories with watercolor, pen and ink, oil. And you know, something as mundane as go in
and paint the factory... Stan: Yeah, it looks totally different. Marshall: He makes them look gorgeous. They're composed as works of art. So, this is another side of Heinrich Kley. Stan: Yeah, I saw the title. Marshall: Yeah. [L] well, that's inspiration for wise words. When we get to the content, I mean, I need
a half a semester of constant exposure to this stuff. I can teach an entire semester on Kley and
never exhaust the material just because - not only because there's so much but also, if
a person wants to learn how to draw in the classic sense, this is the kind of drawing
that started to emerge 600 years ago. Obviously by the time da Vinci is in and the
renaissance artists are drawing like this, you can look at all sorts of things in Da
Vinci's sketchbook, that have this approach which is that you learn the anatomy, you learn
the forms, you learn how light falls on the forms... I mean, every line on that bear is a kind
of perspective line and when it isn't, it becomes a rhythmic or a compositional line. Look at these beautiful shapes. And getting that fused together is something
that he was just great at that. Stan: Marshall, this looks just like one of
your horse sketches that we recently used in the Comic-Con video. Marshall: It does, except that that's on another
level. Stan: Were you inspired by his horse sketches? Marshall: Oh, absolutely. I’ve looked at his horses and drawn from
them over. And I am trying to get away from it. When Justin Sweet was likened to Frank Frazetta
often, there came a point where he just you know, Frank Frazetta kind of inspired me and
kind of got me started, but then he moved on to Dean Cornwell and Sean Wyeth and Howard
Pyle and other really you know, artists who there's a sophistication in their work that
goes even beyond - as great as Frazetta stuff is. So, there does come a point where you recognize,
"I’ve fallen in love with an aunt or uncle that I want to be like them when I grow up". And so you work to be like them and then you
realize, "I’m sort of copying them, I’m sort of doing too much of their kind of thing". I did that with Escher a lot when I was young. Stan: It looks like you're riding the horse
too. I think it was meant to be. Marshall: [Crosstalk] yeah the shape of the
head is Marshall. Stan: That's you. Marshall: So, I didn't get my nose. It okay to go in here Stuart and draw over
the top of it with it, put the nose in there? Stan: We'll just put your picture. [L] Marshall: But when I look at these, I
know enough about my own skill to do what professional clarinetists might say when they
compare themselves to Benny Goodman. I mean, you say "I can tell there is a difference. When I listen to someone that's that good,
I may be competent but there is a difference". And when I look at Kley's stuff, I see that
there is a miles wide gap that might not be evident to a beginner, but when you get further
along you recognize "okay, I made it 10 miles but there's a hundred more to go". Stan: You calling me a beginner? Marshall: Uh, yeah... [Laughter]. You are young grasshopper. Powerful imagery too. Stan: Is that one of yours too? Marshall: No. This one has been reproduced. I think it's a different version of it because
the one I remember, I don't think he had the spot blacks in there. He did another version of this character dancing
like that that I’ve used in classes to show you know, there's a gesture, there's an awareness
of this guy's energy and movement and weight. And then he goes in there and quickly puts
the scales around it. Kley would be, according to, he was about
the time of Carl Jung and then later Myers-Briggs, mother-daughter team who researched personalities
based on Jung's model for care for temperament types and then later David Kearsey that Myers-Briggs,
David Kearsey temperament types analysis. He would be a solid sensory perceiver, an
SP is what they're called and there's these four polarities but most of the great artists
were extremely sensory. That is, they're very in touch with their
sensory world, the ink on the paper, the actual thing in space and perceiver, the P or prober
means that they'll do it over and over and over and over and over again. They don't tend to be the most responsible
people by nature, they have to tame themselves or discipline themselves into responsibleness. They just like to do something and mess around
with it. But it's characteristic of many of the great
artists and Kley, at least on that perceiver prober, obviously met deadlines and did work
and was disciplined enough to where that's part of his greatness. There is a wildness, there's a freedom, there's
a kidliness, a childlike lack of fear, a throw yourself into it and ruin it and don't let
any grown-ups give you guilt over it. And yet at the same time, it has such command
of the difficult disciplines. The difficult disciplines of pen and ink technique,
knowing how a foot is constructed enough to just throw that foot in there carelessly... Look at that arm. I mean, these aren't the most impressive examples
of anatomy. What is this? This is Moses having a chat with God or having
a chat with Merlin or? I'm not sure. Stan: Oh, the glowing head makes me think
it's God. Marshall: Yeah and that he's got stars on. Stan: Yeah, the stars make it... Marshall: But it's about the ten commandments,
and it's making me wonder whether he's - God's got glasses on, that's - there are things
- Stan: God has glasses? Marshall: Oh, he's holding his glasses. But yeah, that is definitely Michelangelo's
Moses and they are having a chat. The human is looks as if he's taking God the
task which is biblical. It's like that - I can't remember the character
in the Old Testament. I think it's Abraham who was bargaining with
God and said "okay, I’ll bargain with you". Oh, that's a famous one and it may be the
exact one. It looks to me like it's the exact one that
was printed in the Dover. Ad: Some of you know that I teach online and
I’m planning more, including a series of studies from Great Masters. You can subscribe at my website, MarshallArt.com/subscribe. Marshall: What else should we say about this? I really don't think he was thinking of these
sketchbooks as commodities, yeah, as works of art that somebody's going to take them
and treasure them. Stan: It sure seems like it though. Marshall: How do you know. Stan: Because they're so - they're not that
loose. Like the subject matter is loose and just
- and very creative and it seems like you just come up with super random ideas but he
wasn't searching much in these. His lines fall into the place he wants them
right away, it seems like that. Marshall: Yeah, I do see that, yeah. And now that you mention it, and they're in
good condition. Stan: Yeah, they're very presentable. So, I don't know, it seems like he might wanted
people to look at it. Marshall: Oh gosh, look at that guy. It may be also that he was just so good - Stan:
Yeah, that's probably it, because I look at some other artists sketchbooks like today
that are living and their sketchbooks are very presentable even when they are playing. Marshall: There's these recordings of Art
Tatum playing in people's homes at their home piano and you can hear people you know, conversing
and clinking glass in the back and they're just as astonishing as any of his recordings
that he did in the studio under the pressure because he was just that good. It's like professor Robert Greenberg said
about Mozart, he couldn't write a bad piece of music. Stan: But if it was just a thing that he would
put his thoughts on, wouldn't he have like words or just like notes that would you know,
things to remember or cross things out like "Oh no, I don't like this part and I’m going
to do it here". Marshall: Maybe. Stan: It seems like nothing in here is for
only himself. Marshall: Yeah, it's not completely private. These are not note pages. This is a sketchbook. Okay, and so now we're going back to the studies. Stan: You think these are from life? The plant stuff? Marshall: It would make sense, wouldn't it? They don't look improvised, they look observational. Stan: Yeah. Marshall: It's like I’ve got all this stuff
in my head, I put it out, now I’m going to recharge it. Stan: Do you think he would do these and then
he would need to Marshall: Get an idea? Stan: He would get something in his head and
he had to get it out? Marshall: Yeah, figure. He's right-handed, apparently and so doing
this, now I want to play. I did my homework, time to mess around - oh
those lines... Stan: The shading in here is just so masterful,
it just - it's so amazing to look at that... The way he creates texture and form with the
lines there, I love it. Marshall: Now, I have always understood that
he did not use pencil under drawing, but I saw some that had pencil under drawing, it
was at Comic-Con and this looks to me like it does have some pencil under drawing or
it may be that that is not pencil underdrawing. There's some very faint lines in there that
seem like it part of it and they look to me like they might be graphite. Stan: Maybe he erased them. Marshall: It may be. Stan: No, wait, I think I see - oh, I do see
pencil. Marshall: So, there's graphite. Now, that's not unusual. However, in the under drawing, the pencil
under drawing that you can see in Winsor McCay, that you can see in Arthur Rackham and what
I’ve seen in here is so loose that the only concern addressed with that pencil is placement. So, it's macro positioning that I’m going
to have some things like this, and then by that time you can then see where everything
goes. Ralph Stedman talked about how he does not
like to work everything out in a drawing beforehand because then there's nothing to discover,
whereas 90%, 90 plus of the work I did commercially, everything had to be worked out beforehand
and approved by clients so that there was no guesswork at the end but then you take
away the option for spontaneity. So, if there's any rule about planning versus
spontaneity or any law to suggest it's to - let the planning happen with the big parts. Stan: Well, you did a lot of product design
and stuff like that. Marshall: Yeah, a whole different set of criteria. Stan: Yeah. Marshall: But even something like this you
know, I would have done a pencil drawing and then go in and decide where those core shadows
were. He's not even using core shadows there. You know, plan all that stuff out. Bernie Wrightson when he did the Frankenstein
illustrations planned out the position of where the strokes were going to be for all
sorts of things. And that is typically the professional way
to work because it's like rehearsal where you've got everything worked out so that you've
got a safety net and you hope for inspiration in those final marks, but they are not genuinely
spontaneous, you've got to get a spontaneous approach to them, whereas with Kley, there
is a great deal of genuine spontaneity going on in those. They aren't all worked out. That one was also - that is also like one
that is - where a lion, her husband - there's there was kind of a marital conflict thing
going on in one of his illustrations with that. She was looking at a rooster and a reptile
making out. Wow! Look at that... Stan: Wait, that's a female? Marshall: That looks like a rooster but I
don't know, maybe chicken - some chickens get more decorated. I don't know that much. Bragged about how I’ve taught animal drawing
so many times and I don't know the difference between a chicken and a rooster. Look at that! Let's do this last page. Stan: Looks like you again, Marshall, there
you are. Marshall: Also looks like him too. Stan: Oh, really? Marshall: Yeah. Well, he gained weight when he was older. I always imagined him because I’ve seen
so many pictures where he does an artist who's a really lean guy drawing and figuring - well,
that's a bit of a self-portrait. But there's not that many pictures of him. But here we definitely got old men drawing. Stan: Well, it's an old man with a big nose
and a white beard, that's you. Marshall: That's me. And I look more and more like that and he's
got a hat on. Stan: Though, he was old. That's you. Marshall: That's another 10 years, yeah, maybe
15. Okay. Stan: That's it. Marshall: Well, we did it! We went through the whole book. I’m not nervous anymore and this is - now,
we went from April to - is that? Stan: January 12th or is that December 3rd? Stuart: December 1st. Stan: December 1st. Marshall: December 1st. So this was the - more than half a year on
this and it does not mean that these were all that he was doing because he may have
been doing commercial jobs that he was doing on loose leaf paper. Stan: Cool, that's it, right? Marshall: Yeah. Stan: See you guys. Marshall: Wooo! Stan: Thank you Marshall and thank you Stuart
Ng. If you love art books, Stuart's bookstore
is one of the best out there. I always make sure to make a stop at the Stuarding
booth at Comic-Con every year. Stuart has a lot of popular books but he also
publishes and translates rare art books. So, check out his bookstore online at Stuartngbooks.com
to find amazing art books that you won't find anywhere else. Thanks for watching, see you all next time
