Original subtitles

[INAUDIBLE]

Cool. Hey, good morning, everyone.

I mean, no, I think my internet should be good. I haven't had an issue with it, but this morning I had a meeting and it was, it wasn't the clearest, so I don't know if it was me or the other guy.

But just let me know.

Um, so yesterday.

I finally went through, I spent like three hours.

I went through all my spider verse work and I tried to like, grab the stuff that I wanted to post.

So, I haven't, I haven't sorted out the order yet but I can show you I found a couple things that might be might be interesting so we could take a quick look if you want.

Um, seeing this one, seeing this one.

This one.

This one.

If you have any questions or anything.

Just unmute and ask me or type it into the chat happy to explain I can talk about some of these like this one with the spot like this.

He's like, we're like the portals are thinking they could be like kind of like these inky

ink blots.

I had a question. Yeah.

I was wondering how you do the chromatic aberration for most of those images.

Well there's a way to do it in Photoshop.

But with these with all with all these you can see like everything is like so like separated out.

I would just do that by hand.

I'm going to take this image.

So you could do filter lens correction, I think, and then go to custom, and then you see chromatic aberration here.

You can just take a couple of these shift them in different directions and play around with it.

And then you hit OK.

And then you can just do filter lens correction again.

You can do it a bunch of times it's going to affect more on the outside of the image.

You keep doing it, you can see like the green and the pink, they're starting to like, you'll see them more.

Do you ever use channels to get that same effect or is that your main with the chromatic aberration filter.

I know you can do channels as well I think that's what Patrick does. I mean he's, he's like better at it than me.

But I, I don't know I like forgot how to do it so I kind of just do it that way, and then.

But usually what I do on these is I will

select, select a color.

Then I'll like,

I get crazy.

I select a color, I move it a little bit.

And then I can like lower the fill.

And then that's how I'll get like this like big like separation and doing it by hand like this you've got more control over things so

maybe I just want it.

I don't want it in this area, so I'll just get rid of all that.

And then you can pick and choose like where you want it.

But yeah, that's, that's how I did that, like especially with these characters I would just like duplicate the character make like a, like an orange one a blue one and just kind of like, move them around.

Google. Thank you, man. Yeah.

How do you plan your compositions.

I do it one way I do it so many different ways, but usually it's like just picking the three values, making something really bold and and cinematic.

And I just figured out and that like simple three value sketch.

This was.

I think this shot was in the trailer or something but I did.

I did like, tons of different like color variations, I just like, like made a video so you can kind of like see I think it's kind of cool when you see him like moving around.

Even, you can see it's like not like normal color we're just kind of like doing a bunch of like crazy weird stuff to see what what will work.

This was that, like portal spider thing.

Color variations.

This was a set that I built so a lot of these, like the paintings that I did for India.

Since there's like these huge locations with like they're connected to different parts of the city. So it just made sense for me to kind of build a simple model to kind of figure out, like, the placement of everything where everything can go in relationship.

I, I built like the crevice and VR just like sculpting like the rocks and stuff, and then I brought it into

Blender, and then I built the city, the city's like super simple it's just like rectangles. And then, like the main sets like the alchemy triangle building and then the bridge, I put like a little bit more time into those.

But like, like yeah you can see like just like little like orange cubes for like the scale of like the cars and some people.

Yeah, building something simple like this was like super helpful.

When designing like a, like a huge city, and the little squares up here, those are like the gondolas that go through the city.

So it's all just like, help me in the business process like painting this stuff.

Yeah, I have a another question if that's cool. Yeah.

So, for, for this one, did you come up with the layout yourself, or was this kind of like based on the storyboard, or, or how exactly did you reach this?

I was.

Yeah, like I would watch the storyboards.

And then like I knew like okay this has to be above the bridge.

And everything has to be built around this like big like crevice in the, in the earth.

So with that information, I just started building and there wasn't really.

There wasn't, there wasn't a layout or anything, because if there was a layout this is basically like the layout. So if there was layout then I wouldn't have to do this.

Yes, it's wonder how long did this take.

It's, it's hard to say.

Because, like, one assignment would be to design this building so I'd like do some sketches.

2d sketches, maybe spend like half a week on those, and then they'd be like.

Maybe I'd spend like a couple days like, or like a day, yeah, a day or two like building out part of this.

Taking screenshots showing,

showing in meetings like what I'm thinking for like the layout, and then going back and like working on paintings.

Yeah, I worked. I basically worked on India for like almost a year.

I was working part time but this whole industry can so it's like, cool.

Yeah, just cubes, because I'm not trying to be a modeler I'm just, it's just for to understand the space.

I tried to spend as little time as possible in 3d, because, like this is just like basically like a sketch phase for me and then I go into the paintings.

When I was building like this bridge down here I probably spent probably like a day like building the bridge and moving it around planning all this stuff out here, and then I would spend the rest of the week like painting drawing designing and stuff.

The floating cubes are those those gondolas that go through the city.

Another quick question.

If that's cool. Yeah.

Do you care much about the lighting that you achieve in Blender or do you just use it to map things out.

Yeah, like if you build it in Blender it's easy just to take the sun and move it around and like see what those shadow and light shapes are. So, for example, if I was going to be like okay I want to paint this shot.

I like.

I like this camera angle, then I would play with the sun and see like what kind of light shapes I could get.

Not that you have to stick 100% to that when you're painting, but it gives you, it gives you some ideas. So you may as well use it if you, if you have it.

Cool, cool. Yeah.

How do you

do you need to learn 3d. No, you definitely they didn't ask me to do this. It just something this complex, I felt like instead of doing 50 drawings and perspective of the city and trying to like explain it, I could just like pull this up on my computer.

Take some screenshots or like make like a little video like this and send it over to them.

And, yeah, it's just faster.

But, yeah, I've never been asked to do anything 3d you definitely don't have to.

And literally this is all I can do in 3d I don't like I can make basic shapes and put them together. That's it.

What is your process from 3d to 2d, just getting the silhouette perspective into the painting workflow.

Yeah.

Basically just make something quick in 3d. If I do it, and then

that will just be used as basically like my grayscale sketch, and then I'll just work up the painting from there.

Was the biggest thing I've learned while working on Spider-Verse.

I think the hardest part of this movie for me was like so much of it wasn't based in reality so it was like super difficult.

So I think, getting away from realistic color and light, sometimes, and it's like my, like I'm always like outside, like sketching, studying for master paintings like doing all this stuff that's like based in reality and like I love stuff that has like

realistic light and all that but like working on something like Spider-Verse, it's not realistic it's based on like comics and just like emotion or feeling.

So, I think, and I'm like switching my brain, a little bit.

That's something I struggled with but I think I learned to do a little bit more on this movie because the first movie was most of it was like very grounded and based in like a stylized version of New York.

So that like made more sense to me.

But the second movie is just like, like how do you tell someone how to paint something like,

like this like this kind of like color it's like, it's insane it's crazy it's like it doesn't make sense you've never seen this before.

So yeah, stuff like this.

Like, how do I take like a concert light inspiration and apply it to like a real scene and stuff like that.

And we see the final painting I'd love to compare lighting in the final render to how you set it up and yeah like that. Well,

this bridge scene.

I don't have the exact shot, but that turned into

this. So, like we're looking up at that city.

So I could utilize a lot of like the 3d that I built back here for like my perspective and all of that.

So like I would build that and then I would take a screenshot and I would paint over it to get this.

How can we join this sector in real life, like teleport at this dimension.

You also have interest in sculpting 3d characters Z brush.

Um, I don't know about like characters that seems like very tedious, but I would like to get a little bit better at like sculpting and understand those tools more so I could build more like organic environments and stuff.

Yeah, like part of me loves like learning like 3d stuff I always have to remind myself it's, it's like I don't want to start going down that road and then it's like at the end of the day, I want to be a painter.

And like the way my brain works I kind of like hyper focus on like one thing, and yeah, I'd rather, I'd rather be like hyper focused on on the painting part so anything I do will just benefit my painting.

Do you see your knowledge of real life color and light, even though you had to abstract yourself from it helped you for spider verse compared to if you hadn't had it.

That's a good question. Something I thought a lot about.

I felt like that real life knowledge that I had hurt hurt me more than helped me in spider verse because like, I couldn't like wrap my head around this weird lighting, sometimes, because it's like it's fighting something that you've like trained and

been learning like your whole life.

People are more are more inclined to like very like stylized color.

Such a struggle like I paint something more realistic and then they'd be like no no it's got to be like, so like, we have to have like crazy green light bouncing up on this character while like pink light is over here.

Yeah, so, yeah, there are times where I was like man I wish I could just like delete everything I know about my color and light, so I can just like do these paintings easier.

Here's some India drops.

These are just painted flat so they could like build these and populate.

So these, like if you look.

Where is it.

These little shops those became these like, so I don't know if you remember in the movie where like miles is like chasing someone or they're like flying through, through here, and you go by.

You're like flying by all these little, little shops and stuff.

When you do stuff like this always have like a person for scale.

She looks a little small there but

this was one.

Are you going to share this on that station.

Yeah, I'll post this on our station.

Since we talked about like promoting yourself on social media I'm probably going to post.

I don't know Wednesday or Thursday that's like the better, like later in the week, where seems to be when people are spending more time online, so I'll probably when I've got like something big I want to post, I'll like save it for for that.

So here, from the 3d I just like took a screenshot like looking down the bridge. Those like floating cubes you saw turned into these.

These are some sketches I did different locations in the city this one as I was working on it, it got cut from the movie but I really wanted to like paint some of these up.

Like a train station and one of those gondola things.

And like a fountain giant like circle with like tons of cars going around it.

I would not consider that much detail without getting hyper focused on the piece of the painting.

Yes, it was difficult I think you're probably talking about like this one or this one. Yeah, I would, I would, I would like draw a section.

And then I'd like work into space. I would try to like pick areas of detail so like this is a detailed area, this is a detailed area, leaving the background, you know like no lines.

So simple.

This is a detailed area this is simple so I kind of like pick areas like got some detail back here.

It's a lot of like doing something, putting it down, stepping away from it for a second looking at it being like okay, where else do I need detail.

Because it's easy like you get into like this line work, and you could you could be like okay, now I'm going to do tons of lines and windows paint every window over here and over here.

And then to make a pleasing painting you don't want that much.

You don't want to just cover this whole thing with the same amount of detail because your eye needs areas to rest.

So yeah, it's a, it's a balancing act.

Like, what a wall.

So that was used for this, the design of this wall. So like the India Collider.

The perspective in the black and white pieces is awesome.

Thanks.

These are like some color, color key explorations of like what the Collider could look like.

When it's like turning on like how do the colors.

This was like an earlier sketch I didn't know like what the style of the India art was yet.

A couple little things.

In this one they asked for like a story moment of the spot.

And, and Miles fighting, he gets like picked through a, through a wall and you see like India City in the background and the train.

And then the last piece was for like exploring a style and what, what it can look like.

In your class remember you said that you would give yourself 15 minute timer to do a sketch.

You time every part of the painting, you're working on.

Sometimes I do have to give myself a timer, because I'll get caught up in something, and I'll just end up ruining it.

But like, usually I know it's like okay I have to show this painting end of the week, I only have like, like two days to finish it.

So like I guess that's, that's my timer.

Here's that black and white one colored. I like the black and white one better, but

this is how I present like I would like sketch this stuff out in 3d really quick.

Now I'd like draw on top of it, and I would just show them these ideas, so as a quick way for me to just like pump out a bunch of ideas and compositions for them.

These are some color keys.

Miles was like invisible.

I like, I like this sequence that I did.

When you paint an invisible person.

Some more color keys when he's like fighting the spot.

This sequence in the trailer.

Some posters.

I don't think they used any of them but there's some ideas, asked me just to shoot them a bunch of ideas.

They wanted to see like 100 Spider Man

and the city is like at an angle. So like in the background everything is, you know, tilted 90 degrees and they're like standing on this window of a building.

Arts in India.

Yeah, that's, that's it.

I feel like I didn't do too much like art on this movie but going back through it.

There were so many like sketches and 3d things that I build like so much development and work went into like every single piece, because we were like developing like a whole new like look and style.

Thank you.

How do you get your figure reference for when you need characters to is the paintings. Well for these, I would just like type into Google like Spider Man comics and I would get like good poses of the characters I would just kind of be inspired by those

for my own business paintings.

I'll look at photos YouTube videos.

Sometimes I'll take photos of myself doing doing weird poses.

Yeah.

I mean, I kind of look super detailed but when you look close it isn't over rendered everywhere.

Yeah, it's definitely

kind of a skill you have to learn over time.

Because, like anyone can like photo bash something and like hyper detail like, like an image. But if you can pick and choose where you put your details paint them in a, in a beautiful way, and have areas of rest, that'll create like a, like a beautiful painting

that will create impact and creates like interest for the viewer.

Yeah.

How do you have to control a color palette while you're working on the stylist palette, when traditional rules don't work, last experience, we have made is more about realistic rules of lighting color.

Cool.

Cool at daytime warmer sunset.

I've seen a lot of shot that kind of yellowish lighting on the greenish mid greenish midday.

Um, yeah, I don't know if you're talking about like the, like the India stuff. Yeah, our rule was yellow light, cool blue shadow so we just use this color palette for everything in India, basically.

Um, so yeah I think setting up that rule for yourself, making sure your values are like, since you can't be like use your knowledge with color you have to use your like, you have to make the painting work and values like that becomes even more important.

And then with nicely designed light and shadow shapes, then you can create a painting that feels like feels like kind of stylized but somewhat natural light, I guess.

So yeah, I guess my answer is like, pay extra close attention to the values and really design that value like this light coming in and like hitting this building here, hitting some of these cars.

Like that was all like thought out and placed for a reason.

Yeah, I'll post those later in the week so you can, you can see. Speaking of that, do you have any tips to create appealing shadow shapes?

Um,

there's a lot of things that can go into that. One is,

you can see my, my values are stepping back into space. So,

highest contrast right here with the main characters coming towards us.

And then the entire background is pushed back a bit.

But each value steps back so this value versus this value versus this value is getting lighter as it goes back.

So that's a very like simple value, value, way to create values.

And then what you could do, like I didn't want to do in this piece, because it overcomplicated but then you could take this and you could be like okay I want to pick out

some areas of light now, where like light is coming in.

So now you're breaking up that, that space with areas of light for for interest.

So that's yeah there's a tip.

Any other questions about like spider verse stuff before. I don't want to get too in depth into like any of these because I'll save that for like a different, different,

different time, but any, any basic questions I'm happy to do.

Cool, let's get into our work.

By the way, this is where I live now I like took a bike ride and just seeing all these beautiful mountains.

So what I did over the weekend.

Yeah, it looks, it looks super hot.

Like when you think of Arizona you think it's like, like 120 degrees but that's, that's more Phoenix Sedona is a higher elevation so it's cooler.

We get snow in the winter.

Yeah, so it's not, it's not as hot as it looks here.

It's a very dry heat. So, in the sun. Yeah, it's hot but then you go into a shadow and it's really cool.

I think it was like 90 degrees.

It's kind of like the same temperatures as LA.

Yeah, I need to go out and do some plein air paintings.

I know everyone just just come here.

I think my whole family wants to move here so I'm telling all my friends like, come here it's super beautiful fresh air.

Way cheaper than LA.

Yeah, let's take a look at homework.

I was like, I was checking some out earlier, so can really awesome.

Not a question really it's painting but I've been working on my portfolio for past three years and I've been improving a lot. However, the feeling my portfolio not being good enough and lacking a skill always creeps in.

Do you deal with that, and how do you suggest we do.

Yeah, I think, since you are thinking that way, then that's a good thing.

That means you're not like overconfident means you.

You think about things like logically you can compare to other people, which is, you have to be, you're like self aware, which I think is great.

Um, which will.

Hopefully follow you for the rest of your life and that will, that's what will like help you to like keep growing and getting better.

Like, for me I'm always like I always think that way too.

Even after being in the industry for a while, it's like I'll see other people I'm working with and like, man, they're like so much better than me, so I like, I like that like pushes me to get a little bit better.

But, so yeah that kind of thinking I think is good. And it will help you you don't want to be like, oh, I'm awesome.

And, you know, I've, I've learned everything I need to learn.

Because then you won't grow anymore.

So,

yeah, and in terms of your portfolio, like, put it out there.

Post it, put it on ArtStation, put on social media, and then make a better portfolio and put it out there and make a better one.

And

it will be validated through getting work, getting job offers like as you get better you'll get better jobs that like respect will like come as you go.

So yeah, that's, so I would say

I want to visit, but I love LA too.

Yeah, there's things I love about LA and things I hate about LA. So, yeah, I totally, totally get it.

For me, financially, it didn't make any sense to live there anymore.

I feel like as artists, we will always feel like that we're not good enough, which could be an issue but if used right.

Yeah, don't, don't let it like, see, being not good enough fuels me and excites me. So like when I see everyone posting their like amazing work, I did for spider verse, I'm like, man, I was.

Everyone did like insane work like that's so cool, like it makes me feel bad about my work but it like motivates me to like get better. So use it as a positive thing.

Oh yeah, universal student.

Like feeling of inferiority. Good thing because it causes you to move forward to get better all your life, but when it comes to inferior complex, that's a bad thing.

Yeah, don't let it turn into into like a negative thing that turns into like depression and you can't like get yourself out of bed in the morning or you like, stop eating or you eat too much like don't let it turn into like those kind of like negative

things like you need to like be mentally strong and use it to to motivate you.

Oh, good book on creativity. Rick Rubin book on creativity.

Cool, I'll save that.

I was looking for something new to

makes you intimidated to apply for jobs. Um, yeah, don't, don't do that like, no matter where you're at. Apply.

Like, do a cohesive portfolio, apply, and then don't sit on that portfolio for years like and keeping on applying. It's like you didn't hear back.

That means you're not good enough.

I mean there's, there could be like less jobs or whatever could be like a timing thing as well but tell yourself like okay, I'm, they saw my stuff and they weren't.

They weren't like, oh we we need this person. So, make yourself better. Make a new portfolio and then apply again.

What do you think about what's currently happening to the industry and the lack of job openings Do you think it'll pick back up soon.

Yeah, I don't know when it'll pick back up but I know.

I mean everyone.

I'm sure it will.

I mean, a lot of other people I've been talking to in the industry say that this stuff happens. So, just stick with it, use this time to build a ton of awesome work and then when things start picking back up, and you, you apply.

When I get my first job.

14 was my first job in animation. So three years after I graduated college.

Um, an art book. Yeah, I'd like to make an art book at some point maybe like later on in my life, like, create like a, like a nice book with

just kind of like my, my path like how to have to like get good at painting.

I think that would be really cool kind of like a, like a Bible.

Any tips on how to find those worst jobs to get at least a foot in the door.

And.

I mean for me it was just posting online a lot and then I would, I would get some offers to like work at like some little game studio or something or like a commercial

or some like independent short film.

But you could probably research, like look, because there's tons of like small animation studios that do like cinematics for games.

You could probably find.

Find out what companies are working on these like TV commercials these games he's like little.

These little animations and hit them up.

I did go to art college, but it was total waste of time and money.

I regret.

I went for three years is just complete trash.

The college has like invited me back now that I'm famous and successful, they're like oh come back and like promote.

I'm like no you guys false advertise.

Everything you taught was like super outdated.

I would have been way better off. Just like learning, learning online but like at that time, like the online schools and stuff were kind of like just starting to become a thing.

So like my senior year there. I was like, oh like schools them is like starting up like, I wish I just did that.

Like all people are born hopeless and then spend all life in pursuit of

superiority, which is great actually, that's the reason for any innovation of the philosophy stuff.

Sorry for spam.

It takes a special kind of person to kind of like hyper focus on something your whole life and want to be like incredible at that one thing.

So, yeah, not not everyone can do that, I think, like, I have like other hobbies and things that I like but like my main focuses is art and painting, specifically like painting and painting.

Painting stuff for movies and whatever. It's like someone, someone like Steve Jobs I think like he created Apple because he was just like hyper focused like to a fault, where he.

It's, I don't know like exactly how he died but I think that probably led to his death like just getting so like nothing could get in the way of that.

So I think you do have to have like a little bit of that crazy. If you want to like become like insane like incredible at something.

I went to Rochester Institute of Technology and majored in illustration.

I, I'm going to respond to the last thing and then we'll, we'll get on with the lesson today.

I'm currently attending college. It's not art school.

Art related best voters my parents say I needed to at least study something at college.

So I'm taking an animation design bachelor.

They aren't really teaching us to draw paint at all but I'm learning on my own two classes and courses. Yes.

It's tricky because like our parents generation, they were taught like you, you go to college you get a stable job.

You work your way up in a company.

You retire when you're 60 I don't know when you're supposed to retire, but they, they were kind of like taught to like do that.

So, if you do something like my parents they were like oh you should go to go to school become a pharmacist you can get a job paying you a decent amount of money.

Like, I'm so glad I didn't do that because, like now they see that I'm like, way more successful than I would have been if I went into like a medical field or something.

So, yeah, sometimes you have to just like prove prove them wrong.

Yeah, Steve jobs refused to take time off.

It's tough when you're on your own.

Yeah, I mean everyone has their own situation, and we'll make sure I'm like sympathetic to that like some people have parents that can like help them pay for college.

For me, I turned 18.

And I was 100% on my own, I had to figure out how to pay for college, pay for my rent pay for my food.

I worked all these jobs.

So I think that kind of situation. And my parents said once you're once you go to college you're not allowed to come back home. So being in that situation forced me to be like, Okay, now I need to like figure out how to make this work.

All right.

I'm going to just talk about random stuff.

So I'm going to ignore the chat for a minute so I can get going.

Hello, Zach.

I have a question.

Yeah.

The questions and homework, I put the photo, and I have a struggle to showing the emotion. And it's, it's depending on construction, our color, now to show emotion and feeling with the first look for views.

Just gonna remind everyone again I always post the video or the link in here all important announcements are in here I post it.

Every time before class, so let's go there, please.

I will sit in my homework.

Last picture.

This one.

I think some seem master study picture on the same palette.

But we have, I have struggles.

You have struggles.

That's cool.

So you want to apply these colors to this.

Is that what you're trying to do, or is this just is this the master study.

I have, I have how to show emotion and feeling with the first look for views, as same feeling. When I see the master study.

Yeah, there is a photo I study, not, not feeling the same of them assistant.

I have a struggle in English, and from agent.

Sorry, sorry for the bad language. No, no, it's probably fine.

Let's see if.

So if I was going to study that first I would analyze it.

Look at it in black and white.

Like, maybe

crunch down some of these values like what what happens like that's kind of interesting what's happening there.

If I was going to paint this I would like push that feeling in it.

The road coming the horizon lines right in the middle so I think I would probably like just lower that make it more cinematic.

Yeah, like the perspective coming in.

This texture is pretty cool so that's something we can

that texture can reinforce the perspective.

Yeah.

Yeah.

So, keeping in mind.

The perspective here.

And now you got these mountains and the sky.

So it's, you see these shapes that we see the analyzer shapes that we see here but then how do we like make it more interesting.

Really look for these light and shadow areas.

Okay, so that's what you need to do first, I would say,

make a really bold sketch.

And then you can take this.

What's I what I think you liked about this was that this bold light coming in this really designed light and shadow shapes.

So you need to create some bold kind of statement out of this.

And then you can come in and be like,

paint this.

myself like a nice under painting.

Okay, so that's the last layer.

Okay.

Okay.

Okay.

So I'm like mixing these colors trying to like find like something natural something that feels, feels nice.

Okay.

But first, first thing you need to do is create that bold value statement for yourself.

So I would approach your stuff like that.

Is that helpful is that kind of answer your question.

Yes, thank you.

Blend modes on your layers.

I don't know what blend modes are actually. So I guess I've never used it.

Like, as, as you like paint more you'll kind of like learn like the hotkeys and stuff so like for me I'm like I hit like lasso transform like all this stuff just like easily on my, my hockey's.

Cool.

So, we are over halfway.

They were in be talking about using photos,

references combining references last last couple weeks is mostly about color so now it's going to be color as well. But using a couple photos and kind of putting them together.

And what I want to do this week is really show how you can take a couple different photos, combine them in a way to make something like new original.

But showing that you don't have to like make everything up you.

And you can get pretty far just by, you know, using a couple great references.

So, what I did was I found some, some good means.

I'll give you a minute.

These made me laugh so I hope you enjoy them.

I have, I have some sense of humor.

Yeah, it like we were talking about this last week to like it blows my mind that, like, that it's like to me it just seems crazy that people are like, Oh, do you use reference for your art.

Yeah, I reference like everything like I go outside I'm taking photos of lighting and colors.

Like everything is referenced.

That horse.

It's like some of these like really like old paintings they would put like they didn't know how to like paint a cat or something so they would like paint human features into like animals, like super weird.

When I bought this course I didn't imagine means would be here. It's a lot more than I hoped for. You know, you just got your money's worth that one slide.

Yeah, that's a good point using no references is for people who fear success.

So I grabbed, I grabbed some of my paintings where I just use like two references and kind of like combine them, just to show some examples.

Like, yeah, like the, these two is, I found a reference of an environment reference of people just entered them together, like super simple.

Same with this one reference of an environment reference of some people from two different photos put them together.

This one is mostly just like a photo study but changing the colors adding some people in the background, you know, really like pushing it in a painterly way.

Same thing with this one. This is a very like gray photo but I made like the colors like very like stylized and crazy to create like a feeling.

Same with this one.

This was just a photo study that a photo that I took outside my old apartment in LA.

This one photo of an environment, and then I googled like some skateboarders guys and then I just push them together and played around with the colors.

So, examples of ways you can think about this is combining two photos, so take like two interesting photos, like,

what are some elements you could take from this one where some elements you could take from this one, sketch them together.

It's basically like I took took this piece, and then I just put this boat in there. And then you paint it together in a way that like feels nice.

Another way, just adding characters, so you find a reference image like as some like nice lighting or like nice design to it. And you're like, Oh, what if these people were like fishermen they're like

walking through here with fish, and then you just sketch that in.

And then you've got an original thing.

Obviously I made it more cinematic with my aspect ratio.

Others for masters is what we've been doing past couple weeks, but like taking this photo, applying master painting colors to it.

Taking this photo, like being inspired by these color palettes.

Doing the sketch.

And turning into into a finished painting.

Oh yeah, that was Glendale.

Changing the composition.

So, yeah, this this photo was cool. I was like what if we just slide the boat over and then we kind of frame this boat in the background back here.

You know, so just like moving things around in your composition.

Can also think about hammer angle, different composition types.

So,

if you're looking for for homework, try these like super simple ideas.

And maybe you do this already. And that's, that's great.

But if not, definitely try these, and it's, it's a good

point from what we have been doing which is basically photo studies master studies, kind of like playing around with color. Now you can do those studies but you're being a little bit more creative you're adding one more reference to it.

You can play with the colors but then you can add characters.

Change the composition around.

Do five paintings, you can spend a little bit more time on them like an hour each, like each week we're kind of adding like a little bit more time so the hope is that you maintain the energy and the old brush work but you can just spend a little bit more time

like refining some things, turning in into slightly more finished pieces.

Practice using reference, try each idea below.

You can be creative and combine different ones if you want, like,

put two, two photos together, and then add characters as well.

Change the composition, use colors for master paintings.

And this will, this will set you off on like a good step into being like more creative and understanding how to use like a lot of a lot of references so when you get like a complicated illustration to do, like some of those spider verse paintings with like

buildings crashing and like characters running, then it's a little bit more manageable because you're like, okay, I need a reference for the background. I need a reference for some of these middle ground elements, reference for the characters, reference

for lighting, and then you can put everything together.

So,

I had a couple ideas of demos to do combining two photos so I was going to like combine these two photos and kind of look at these colors because they kind of related to this.

Or making this, this one and adding characters to it. I think I'd like to do this because it's

I can, I can make something a bit more I think it'll be more useful for you.

Or at least I'll start with this one.

I know, last time I taught this class.

People were very.

They liked the simple way of like creating something unique.

So something that just felt like so natural for me to do like, sometimes you don't, not everyone thinks that way so it's yeah it's interesting how we all like create images differently.

So yeah, hopefully this gives you gives you some ideas.

Okay, so first thing I want to do is, I want to make this a bit more cinematic.

I'm just going to sketch out a position.

Yeah, I think I like bringing the camera down a bit more.

A bit more.

Oh, that's great. Yeah, you've done this method before.

Cool.

Yeah, so yeah if you've done this before then yeah take this week to like push yourself more with like my color or composition, something like that.

Do you ever use line work in your sketches or do you just hop straight into painting.

Let me, let me just finish this basic sketch and then I'll show you what I mean.

So right now I'm just trying to come up with interesting composition shapes, all of that.

This is where the painting is made coming up with that great value statement.

Let's make it bigger.

Something over there, maybe. I don't know what I want to put over there but maybe there's something.

You can see like how low res, I'm painting this everything's like pixelated.

A lot of times I'll do.

I'll do first, like one third of my painting or one, one quarter of my painting, very low res and

sketchy like this and that's a way to force myself to not get caught up into details focusing on the big shapes, and also your brushes will work differently.

You can use just like huge brushes and paint this really quickly.

Okay so line work.

Yeah, sometimes what I'll do, like, looking at these characters here.

I might do these like gestures.

And these, these could be could be lines.

Like this guy has one leg. That's really interesting.

Yeah, just some interesting like characters here.

The idea of doing line work is that you

get caught up in lines and then you end up drawing like everything in your painting.

So keep that in mind if you're doing any lines.

Yeah.

Okay, here's going back into space get that scale.

And like some can just kind of be placeholder like you, you don't need to perfectly draw everything. You just want to get like kind of a gesture the feeling and then you can, you can move on from there.

Thanks, let me just

I do line work all the time, but with this class I'm starting to try not to fully rely on line work, because I really want to achieve really loose expressive style.

It's great.

Yeah, the.

I don't know the, the spider stuff like the India stuff like I had to do line work, which I'd never really done before, but I just did these messy lines kind of like the way that I would paint in a way, like,

kind of like interpreting what I saw and like a loose way. So,

yeah, I don't know, it, I kind of liked that I want to kind of explore that a little bit more so maybe I'll, I'll do do some more lines in the future.

Cool, so there's, there's my composition just combining putting these characters into there. And then I found some references for some, some colors and light.

Let's get those colors going.

I'm going to tell my palette.

Maybe this one kind of has like a nice like hand color can start with that.

Because I want this seem to be mostly these like cool, kind of like blue gray colors.

So by starting with a kind of neutral warm, then I can, you know, the danger of using these blues is that everything is kind of blue and you don't have any warmth to it but starting with a warm that I can layer in the blues.

See, now I'm gonna like experiment just kind of like, there are some colors down.

See what, see what I can come up with.

I'm going to shrink this down for a minute so I can see better.

Okay.

Okay.

Yeah.

Yeah.

So I'm going to do the sky.

What I like about this photo is like if you squint the sky and the reflection in the water, I like a really nice bold like graphic light.

levels.

values.

I'm going to kind of group these middle values of that.

So, what I'm trying to do right now is just add a really abstract phase, create a nice kind of structure to this that I can then build off of.

So, I'm thinking about the painting in the simplest form possible.

We look at this in black and white just super simple light and shadow.

I'm going to build graphic light graphic shadows.

And as I, once I get that feeling right then as I move forward I can start to pick apart some of these, the interesting details and stuff like that.

And so now I'm kind of like pushing some of these shapes around.

Oh, that's a good point.

I actually asked if you like photo bash something together and use that as a reference.

Yeah, I've done that in the past that's like, you could kind of do this process here.

But like just photo bash like these characters into here and kind of like

grab these like characters.

Place them in here. Yeah, I do something like that, quite a bit as well because then you can kind of like visualize what you're doing, and then use that as your reference.

So yeah, great idea.

The danger of that is getting being too attached to your reference, whereas this for me, this is a.

There's more of like my artistic like.

There's more of me in this.

So as long as you, you keep that in mind you don't want to just like create something photo bash you want to be like okay, when I start painting I'm going to push the shapes around and stuff like that.

Would you suggest putting stuff on different layers for this exercise.

I would keep keep your sketch on a layer so you can get go back to it.

But use as little layers as possible. I see.

Yeah.

Looking at my navigator quite a bit, so I can

really see the overall view of this.

I just cheated I just color picked my reference.

What do you think of the style for example like O'Keefe, Jay, O'Kerr, or Henry Rong Long, those styles are not very painterly but more like an ill-fated style.

Or like an illustration you sometimes try to change your style.

Hmm.

Not very painterly. Yeah, they're very to me, their stuff is very like hard edge to graphic heavily based on photos in a, in a beautiful way.

Whereas this what I'm kind of showing now is kind of taking it more in the direction of like a painterly like impressionistic all about like color and feeling.

So it's, it's a different kind of thing. There's a time and place for both. I think it goes with like taste as well, like for me like this kind of like,

this is like a little crop of a painting I saw but like this stuff in here, like these like painterly brushstrokes and kind of like how the light hits like that is like so beautiful to me I want to like kind of capture that in my painting.

So like for me like I geek out about like weird little things like that.

Rather than like thinking like okay this is like a whole town back here I need to like paint all these windows, you know.

So it's just kind of like a different, different thing.

I've learned working with Patrick for like a couple movies I've learned a lot from him and like he's like very efficient and he can like just like get a painting finished and very well done very quickly.

I tend to like kind of mess around with things paint into things kind of less efficient sometimes.

I didn't see how do you switch the values to colors.

I like to have my top layer I just have a I filled my canvas with gray, and then I just put it on color. So I like to have the top of every file that I have so I can just click that on and off as I'm painting.

I know there's other ways to check the values but that's just how I do it.

Yeah, Patrick O'Keefe.

I'm proposing

design key art for living, but it's cool to take it further and paint in my style.

Yeah.

You know what kind of process Patrick O'Keefe uses for his paintings.

Yes, I do.

It's actually similar process to me.

Value grayscale.

But then we both start our paintings the same way. But then I, I go off into like this abstract weird, whatever I do what I'm doing now where I'm trying to like find something.

Patrick goes off into a little bit more formulaic

process, where it'll be like, I mean I don't want to speak for him. Like, you should take it further.

Like, you should take his class if you really want to learn that kind of stuff.

But, yeah, he's, he's a little bit more like okay now I've got my reference I'm going to like you would find probably a photo reference of the stuff back here.

And then he would paint that.

And a kind of like a graphic.

impressionistic way that I would, I think.

So he starts a little bit tighter, or I start very loose and then I get tight.

But yeah, I don't want to like speak for him too much like that's just what I've observed from working with him if you're really interested, you should watch his class.

I mean, I think he's, he's amazing at what he does so.

Unless we keep talking about

demoing heavy paint.

Oh yeah, at some point I will it might not be during this class, it might be during like one of like our sketch meetups or something but I'll always

post about that before it happens.

How do you get sharp, you find edges on different objects. Do you draw them on a separate layer or is it something else.

Yeah, sometimes.

So, because I have this established, I can just select.

And now I can get these like sharper edges.

zoom into that so you can see I get these sharp edges. So I do that. That's why I keep my grayscale in a different layer. And then I will also do like lasso stuff.

So if I just paint

some cool like lasso shapes

complimentary color.

And I've lassoed something.

And now I can get these like sharp shapes as well.

And then when you lasso something and it's like low res sometimes you get like these like weird lines that it draws like take those put them into your piece in some way

and get some new abstract shapes.

Thank you.

Yeah, I think his class is like a pre pre recorded thing you can just watch.

I have Robert rules graphic la. Oh yeah, it's great book.

Yeah, he, he does the same kind of kind of technique.

Like, I think, pretty much everyone on like spider verse like

Rob.

Alberto

Ross, all kind of pain in a, in a similar way because we've all kind of learned from each other to try to get like that graphic kind of painting.

I go too safe when painting and painting feels incomplete because going to try to be more experimental. Yeah.

Last last week I remember talking about, like, the negatives about this painting about painting this way but how it can pay off as well. So,

that's definitely not the most straightforward way of doing it.

Like, like sometimes when you're doing when you're painting like this and just letting things kind of like happen, you can come up with new, new ways for creating shapes.

So like me I just like selected a random thing and then I'm pushing some color into it, just to kind of see what what will happen.

Racing out sections.

Okay, let's bring some structure into this.

Okay.

Okay.

Okay.

Okay.

Stop playing.

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I'm just trying to paint this, get it to great.

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Get things feeling right.

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Is someone talking or I have to mute everyone again?

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I remember.

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These people and their.

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Well, it helps with the composition and the scale.

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I jumped back and forth between this way of painting and more graphic style,

your way feels more natural to me.

Cool.

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Yeah, I think you got to paint in a way that feels natural to you.

It's important.

Start to get an idea, whoops.

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That concept thing on an animated movie about boats and

fishermen would be your dream job.

[LAUGH]

I don't know why I've been into boats lately.

I feel like I've been kind of obsessed for like a year or two.

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I think there's just like such interesting shapes.

And then the different material qualities, like materials and

boats versus like water and reflections, like all that stuff.

That stuff is so interesting to paint.

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If we want a quick recap of the homework, where can we find instructions?

I'll post it and I'll talk about it again at the end of class.

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And I always post this Photoshop file

along with the video later on the day.

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Yes, I'm at a standing nus.

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I've actually found myself standing a lot lately.

Sometimes when you sit, you kind of like get tired.

But if you stand, I've had like more energy and

I can kind of stand for like most of the day.

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Okay, let's make this boat look better.

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Hint that some rooftops and things back here.

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Did anyone see Elemental, the new Pixar movie?

I heard it was the worst grossing opening weekend of all time for Pixar.

Which is super sad.

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There's a couple questions.

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You wanna play around with the composition stuff.

Don't be afraid to just like lasso things, grab things, move them around,

stretch them out.

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Yeah, already like that shape back there that I just put in that makes us feel much better.

It's kind of like things stepping back some balance.

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I'm not loving these people here.

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Maybe they come up higher, they break that silhouette.

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Yeah, I'll keep messing up this one. I wanna finish the other one I did from a couple weeks ago as well.

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Now we're going over time a bit.

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Um, so that's how how you should think about, about that. Always form first. Will you adjust

visual weight in composition during another class or do you know any resources for that?

Visual weight in composition.

We'll probably touch on it here and there in this class. My intro to this dev we talked

about that composition types.

The kind of the percentages of shadow versus light kind of like breaking that down and

favoring one or the other in all your compositions. So if you want to get more into that, then

you could check that class out. This dev one. I don't know. I'm trying to think where I

learned it.

Or if I just came up with that on my own.

I'm sure I learned it somewhere. If I think of any other resources I'll post

about it. I'm doing five, 10 minute master studies. I feel like I don't really have time

to analyze temperature changes very well.

So do we benefit from it more in muscle memory? Yeah. And those really quick studies.

You're not going to have the time to go in and really like think about all the subtleties

and temperature. It's more about

the basic impression of the piece, capturing that with few brushstrokes, capturing like

a full painting in a short amount of time. So

now that we have more time with these studies that we're doing now, you can really think

about

the color temperatures and all that.

And translating a photo's palette to a

photo was difficult because of different lighting setups.

Should I be more picky when choosing the reference? Or do I need to be more open? Example photo

and shadow with the painting.

Um,

I think at this point, maybe try to find

a reference that is closer to your to your photo, like so you can see what the light

color is what the shadow color is.

And then as you kind of get the hang of that, then you can start to introduce colors that

are like, more foreign or like,

like sometimes I'll, I'll look up like,

there'll be like weird fashion photography with like, different materials of like clothes

and like weird lights and things and that might inspire the colors for a painting. But

that's a very hard like transition to make like, how do you apply these colors to this

painting? So I definitely do that. But it's like a more challenging thing to do. So maybe

at this point, build up to that.

Thank you.

No animation was done until recently either. I guess I saw the credits when watching movies,

but never really thought about the fact that

people animators Yeah, yeah.

Yeah I think for me it was like,

I didn't, I thought maybe there's just like a very select few people who like magically

got into those jobs somehow.

Yeah I didn't realize like, oh, you just become a good painter and then you can, you can do

that.

Yeah.

Out of my entire career Puss in Boots 2 is my mom's favorite movie that I've done. She

didn't really care about any of the other movies I've worked on, but she really cared

about Puss in Boots.

She's like telling me parts of the story and stuff that happened. I'm like, oh, cool. I

didn't, I still didn't make it through. Sorry, mom.

That rock looks great.

Cool. Anything, folks on schoolism, top balance? Oh, there we go. Balancing composition. Yeah,

probably is pictorial composition class. That was a great class. Puss in Boots is awesome.

Nice.

I want to work at Dreamworks, but the send application button is more scary than my while

to apply.

There's often to be to be scared of just send it and then update it, update your work every

few months. You know, the way it works at Dreamworks and probably most other studios

is the artist manager will go through all the applications that people send in and look

at all the portfolios and pick out their favorites. And then they'll show like a handful, 10,

20 portfolios to the art directors of different movies. And then they'll be, they'll tell

them like, okay, you're allowed to pick like one person to hire. We have room for room

and budget for one person. So then they'll pick their favorite person and then they move

forward from there. Cool. Any other questions? Yeah, it is very competitive. And at any one

time there's, there's really only like a few VisDev artists, maybe I think the most amount

of VisDev artists on a movie at one time is probably like eight. So yeah, if you can be

one of like the team of five people like that's pretty, what's the important thing on portfolio?

I don't have one thing I can tell you a few things. Create a simple story that you can

illustrate, paint all the key moments and basically prove that you can paint humans

and characters in any kind of light. And you are showing that you are a master of lighting

and colors. You're showing a variety of color and lighting. And you're also showing your

design skills. So designing the environments that the characters are in showing your composition,

skills. Yeah. Basically, you have to prove that you can paint, paint anything and be

creative. It starts to sweat right now. Yeah. Cool, cool. Anything else? I think we're good.

Awesome. Um, thank you, guys. Let me Yeah, I'll post the homework, this stuff and discord

recording will be up later today. Um, and, yeah, just hit me up on discord if you have

any questions. And, yeah, I mean, if you do like, bunch of like quick, loose paintings,

kind of like this experimenting, having fun, throwing, throwing these photo references

together. That'll be a great week of week of learning for you. So yeah, can't wait to

see what you do. All right, have a great week.

Thank you.

psychologists and social unknowns, thank you for the