Original subtitles

Thank you.

Good morning.

Good morning.

I'm happy for everyone.

Merry Christmas.

You had some burgers and beer and I don't know what, whatever else, American.

Oh, that's beautiful. Robbie.

Yeah, these are amazing great use of, you know, like looking at the reference and picking out some different colors and stuff that's, that's great.

Barbecue and risky.

That's great.

Cool change the time I did.

Yeah, your colors in here.

Awesome.

Fresh water.

Nice.

Something that I'm seeing with this, you know, going back to our color or temperature lesson.

You can feel that you can see the bounce light bouncing up into this, so the warmth from the environment.

Like the road and stuff it's bouncing up in here and this is warmer than this.

Okay, look at that.

Yeah, I know it's me guys this is like little the night for you.

It's my morning so

nice.

Thank you for joining me, the boats are cool. I remember this photo.

Beautiful.

Great studies.

Thanks.

I know it's tricky. So, beautiful.

Nice.

Three moments.

Great.

What's cool about this reference is so graphic.

It's just like, maybe, maybe do something that

Nice.

Thanks.

Yeah, great things.

Whoops. Wow, beautiful.

Finding references. Cool.

That's interesting.

I'm looking at this, see how dark.

I think if you look at the

the little bits here you can, it feels a bit lighter here so you could just take, take this whole shadow side of the boat and just darken it, I think that would group it as a nice, nice dark shape.

Great.

Yeah, great use of combining things. It's awesome.

Always squinting. I like this reference.

How flat things become.

It would be cool to try something like that.

Beautiful.

Cool.

Yeah, these are great.

I think you tried the, like a really simple like black and white kind of block out, and then just like layering in some like quick pain.

Beautiful.

I like how you simplified all this foreground stuff, you made the focus this.

That's, that's really nice.

Beautiful painting.

I find it.

I can't understand brushwork part. Can you explain it

in a small way again.

Yeah.

There's no tricky thing about some of these topics that we talked about is there's no like, there's not like an answer, like one answer to the, to the question or one solution, it's, it's all about kind of doing these studies, learning from master painters

and picking out elements that that you like from them and kind of learning from them and building like your own, your own taste and expanding your, your eye, your.

And then just you as an artist. So brushwork comes from your taste and looking at your favorite artists and like picking out different pieces that you like and then applying that to your painting.

Yeah, like for me like maybe I'm really into like Jeremy man's like cityscapes.

And like how he, like the brushwork in the background is like like super loose and everything.

That's like my taste and that's like something that I want to kind of like apply to my work a little bit. So it's like taking a little piece of that and bringing it into my paintings.

But maybe, maybe this doesn't appeal to you at all. And that's, that's totally fine. So you find artists that appeal to you. And then take the pieces.

Take the elements of their pains that you like and then, you know, go from there.

So I hope that that makes sense. But it's like, if I'm going to study like since around Jeremy man, I'm going to study his stuff and I'm just going to like, try to replicate his brushwork and learning, learning from this just by doing,

you know, quick studies where I'm trying to replicate that.

I find it so hard to paint buildings all cluster together and keeping the balance of merging simplifying the shape, but keeping it from being one singular block.

Do you have tips.

Yeah, we're gonna, I was planning on doing a cityscape demo today, so hopefully that will help you.

And feel free to ask questions during that.

Yeah, this is the last class.

So sad.

Okay, I got it. Thank you. Cool.

Great, great, great.

Nice clouds.

Yeah, great work. Any questions on the homework. Like last week is mostly about like brushwork, edges, stuff like that.

If you had any advice for doing interior scenes.

Do you have anything more specific for interiors.

I don't, I don't know I paint interiors the same I would say my word exteriors like the differences.

You don't have as much atmosphere usually inside. So what you can do is kind of push that push the atmosphere a little bit.

So you get that depth.

Usually, usually they do that in,

in the 80s a lot of the time.

They'll like, put some, put some atmosphere into interior spaces so you, you get more of a,

more of an epic feeling more of a bigger space.

Like, I'm just kind of like looking around like something like this there's a lot of atmosphere pushed in there and then you can see how graphic and simple the lighting is.

So I like, I like that image.

Always kind of like looking for examples of that when I'm like looking at references because when I'm doing interiors I want to make things like as cinematic as possible.

So, I think that image like this is cool because you get shadow shapes leading your eye back into space so those.

I would like to kind of analyze this I would, I would just look at like how graphic it gets, you know, and design your shapes.

Follow that perspective.

See, guys in mind.

I like that.

perspective.

And then your shapes can get smaller as they go back.

Interiors haunt my nightmares.

Yeah, honestly I would, I would do this approach, if you want to get better at interiors kind of break them down see.

Look at them like why do you like.

Why do you like this and like why are you drawn to this.

And then, you know, do a study a grayscale study like this, figure out the perspective, and then on.

Yeah, honestly just do do a bunch of quick studies and you'll you'll get the hang of it.

That's, that's what I did.

I had to improve lost and found edges.

It's really about analyzing a piece.

You're going to look at this in terms of lost and found edges.

The question I asked myself is where, where do you want the viewer to look. So here it's probably in this space. So, you would want to have the sharpest edges here.

Lots of hard edges, more detail.

And then you would have softer edges.

And in these other areas.

And then here and there you put in a sharp edge to lead your eye around the piece.

And then you get like some soft edges and some hard edges it's all about creating that balance and leading your eye through the piece.

Some things you can ask yourself like, maybe you put like a

sharp edge back here, but something doesn't quite feel right about that.

Maybe it's because this edge kind of pulls your eye out this way.

So what happens if you soften that edge.

Now our eyes and drawn out this way as much.

Maybe your painting doesn't feel quite finished.

A lot of times that could be like too many soft edges all over the place. So if I just like soften up these edges.

Why doesn't this painting feel finished. And if you put in a sharp edge, like it's starting to feel like I have a focal area now.

Um, yeah, so that's kind of how I think about edges.

Does the color get closer to the atmosphere color as it goes back in interiors, too.

Yes.

Like, if you have, if you have windows in your interior and like that, that atmospheric light is coming in.

You can really push things back into into the atmosphere.

Like if the, if it's like a warmer sky then things can get warmer as they go back into space.

I'm loving adding crowds the foreground and putting the focus on my characters in between the people passing by. I did that on a study of Nathan Felix but I feel a little too rough. How do you suggest improve it?

Shoot I think I missed it. If you want.

You can, if you want to post it again. I can, I can see it.

Um, I think, to answer your question, usually it's just picking out a couple people.

Yeah, I think you should refine the focal area but

you know what I mean.

Yeah.

Yeah.

I refine your figures a bit.

Really specific with the direction of light coming in.

Let's paint into these.

I'm a little confused of the lighting, because you have very cool light, but then when it hits the ground it gets like very warm.

So I would just make that consistent.

If you want to do more like high key overcast.

It's going to be.

That'll help to like contain your colors.

Use the colors from this.

I mean, I don't know.

Maybe it doesn't.

I don't know that this makes like this fully makes sense either.

I think, you know, you push things in an artistic way here and there.

Yeah, it's, it's a beautiful painting of Nathan's.

I'm just looking at this and reacting to this like it didn't feel natural to me. So I was like, how, how do we fix it?

Yeah, another thing you could do is, you know, if you find this and you like, you want to be inspired by the lighting and this maybe find a photo as well.

And look at both of these and be like,

what are some things I could take from from each, maybe, maybe in Nathan's piece.

I don't know if I can get this.

I don't know if it's a little bit desaturated or something.

Any tips for painting interior scenes with lamp light, and maybe some suggestions for any scenes with artificial lighting in general, perhaps there's something to avoid.

A lot of questions on interiors, maybe next class I'll add an interior week. We'll just do a bunch of interior paintings.

Do you see with lamp light?

Well, yeah, you'd have one light source. So,

light and shadow.

That makes me think of like film noir stuff that's like very, very graphic, very, you know, like a single light source

where it's telling a story with light and shadow.

You know, you could treat an interior like this like being like super graphic, really thinking about the light telling a story.

You know, start, start in a point like this and then,

and then you can start dropping in your colors and going from there but if the structure is strong and bold, then that's most of your battle right there.

No, I mean like next time I teach this, I'll like, I can add one.

I can add a class.

But you're always welcome to join next class as well.

Next time I teach.

That's why I make it so you can, you can just keep joining, if you want, or check in here and there like check out the recordings later on because I kind of evolve the classes as I go.

So, yeah, it's just good for everyone.

Alright.

Last week, week six review.

We're gonna go over like the key points, apply everything we've learned.

And then, like, where do you go from this class. So, in this class is kind of me showing you all the things that I've done to get get better at painting and always improve as a painter.

And then probably like take all these things and apply it to more original work, whether you're an illustrator or fizzed of artists.

You know, a simple way to take all these ideas put them together and really be taking a step beyond, like, just the studies.

Review.

Week one value.

simplification of form.

And, you know what I mean by that is like,

you can move things down into shapes.

You have your, your shape here and then you think about where or how does light affect that form.

So, you know, maybe this is like a car or something, a more complex shape.

But if you think about it in its simplest form.

We got light hitting the top plane.

A little bit of light hitting this.

We've got bounce light from the ground, it's going to bounce up into these planes a bit.

So, whatever shape this is, if it's a more complex shape, like a vehicle or something, if you think about it, in terms of just a simple form, you can get.

You can get that strong sense of light hitting an object before you get caught up in all the details and stuff.

So from this point you could be like,

when you just break it into smaller and smaller pieces.

So, simplification of form.

Time studies, keeping that quick energy that quick, just like, what is this piece about?

In just a couple minutes, you can

get that basic statement without getting caught up in tons of detail.

The idea with these is that whether you're doing like a fully finished illustration, or you're just doing these quick studies, you always want to start with this very

simple sketch, so then you, in doing a sketch you'll be like, oh, this boat back here, maybe that does become just a really nice simple shape.

And then I focus my detail more on this ship.

And that will help you to, you know, be efficient with your painting.

You can find areas where you can simplify or

push things back.

Same idea, but with simple color palettes. So, again, really quick studies.

Thinking about warm and cool, we're not going crazy with all of our colors, limiting our palette.

And

I feel like a lot of the time,

you know, a lot of like my favorite paintings are the ones that have a limited palette because it's, you're relying more on those subtleties and temperature, rather than just throwing every color of the rainbow into your painting in hopes that it works.

It's like here, you're showing a level of sophistication, you're holding back from using every color.

And that can say, say a lot as a painter.

The hardest part is to get through the ugly first stage and keep refining and exploring.

Yeah, that's something that's something I struggled a lot with earlier on in my career.

You get, you get kind of stuck in that ugly phase of your painting.

And

my way through that has been to

try to not have an ugly stage. So every stage of my painting is, it can be finished, basically. So that's why I started with like a quick, loose sketch where I paint everything very quickly.

So it's a finished piece, but it's loose, and then, then I want to refine it a little bit more so then I pick out the next like level of detail and things in the piece that I want to refine so then at that stage it's still,

it's still a finished painting but just a little bit more refined and then I just keep going.

And that's the way you don't, you don't have like this process this painting process where it's like starts out as a cool sketch, then you start to refine things and it's like, it's ugly.

And then you have to like try to fix your painting.

I don't know if that makes sense.

It really is the foundation.

Yeah.

Yeah, this is the foundation is like your map to the rest of your painting, you know,

and you can keep them as like layers to like, here's your paint, here's your underpainting, there's a max level of detail max level of detail.

So then you can always go back to a previous step and be like oh there's something that I kind of missed from that first stage.

So you can always like lasso it out cut it and put it back into your painting.

So then you never really, you always maintain like the beauty of the sketch at each, each stage.

I've given up on many paintings in the past because they look ugly.

Yeah, I do that too.

A lot of times, like, if it's like a new subject or something.

Sometimes it takes a few paintings to kind of like understand the subject and kind of like those things become like the research basically.

So I might do a couple of things that are just really bad but then, then I kind of understand the environment this new subject matter.

And then I'm able to do like quicker like way better paintings. So that's why it's good to just, you know, do a painting abandon it

and start over.

Recently, I had an assignment where it was a really complex painting there's like, there's like stuff going on the foreground, a river and then a city in the background.

And I painted the scene.

Three different times I got it like the painting, like 50% done.

But I could just tell it wasn't working it wasn't what I wanted.

It was a combination of a lot of things it was like the color palette, the atmosphere, the camera angle,

placement of objects, because it was just, I was trying to tackle so much.

So it took me a few tries to kind of like understand and kind of explore, and then go from there.

When I see strong color choices and really cool shapes at any stage, even at very early ones. It's always beautiful I feel the great skill of an artist is to not have that ugly sketch.

Yeah, it's a good point.

It's like maybe you do do a sketch like this and you really like some of these shapes, like, leave them, you know, you can just leave them let them turn into the

into the finished painting, you know, and then you just refine some of the areas in the focal area.

Bruce Duchin, Richard Schmid talk about each stage being worthy of being framed and hung up.

If you, if you're pulled away.

Yeah, that's a good, that's a good point.

Yeah, like I follow a lot of traditional painters and

when they post their sketches a lot of times I'll like, like they're like unfinished work, more than they're more like finished stuff. That's why I'm like so attracted to people like Iber Maggie because he leaves parts,

like unfinished or like just like very loose or something just really appealing about the

the paintings I've liked the lease end up being sold first because collectors fell in love with them.

Yeah, it's, it's interesting.

Yeah, something we we might hate, you know, someone else might might really like so you never know.

Sometimes I paint a city but I can't paint windows.

Yeah, I'll show in a demo later.

And I know there's a lot of questions about like interiors and stuff like that maybe, you know, I do these sketch meetups like every once in a while.

So everyone from all my classes can can join in, and we just sketch together. So, yeah, maybe the next sketch meetup I'll do an interior demo or something.

And feel free to like remind me on Discord.

Sometimes I need a new reminder.

So, yeah, limited palettes.

Um, I'm more complex color, longer studies.

Now when you're adding adding more colors to something you have to be more accurate and thinking about like exactly where the sun is in the sky, the color of that light coming in affecting things, color of the shadows.

So, yeah, just going through every, every piece.

Every paint stroke you put down you think about is,

you know, local color of an object.

Warm light, warm sunlight, passing through cool atmosphere affecting that that object. What color does that become?

And then cool atmosphere affecting the shadow sides of things. What color does that become?

So you think about all these colors and how they shift with, with the lighting that's there.

And then there's

purple graffiti painted on the ground and then that purple bounces up into these, into these colors.

Um, yeah, so just be smart about every color choice that you're making and really think about why is it that color.

And that will give your stuff that that realism.

Yeah, we're still excited for a possible, happy paint demo. Yeah, that's another, another good one I should do.

Let me just jot that down.

So I've got it in my notes, couple of the demos that I can do.

Using references, I showed,

you know, especially the the Spiderverse stuff that's like really complex design issues. I showed a lot of the references like how much time I put into that, like if you, if you saw the

Spiderverse workshop last week.

I just had pages of references of these marketplaces and all these little details, because I had to design these locations that

are really complex, a lot of different things went into them so

you know it's this idea, taking a couple, couple references but then like as you add complexity, like, don't try to make everything up just find a reference for it so that you can,

you know you're not relying on on imagination, like you're, you're seeing something and then you're kind of applying that imagination to it.

I think that will make your shape designs your, your, your textures just everything better, because you're not.

You're not trying to make everything up because your brain can only like take in so much unless you have like, like a crazy.

What do you call it photographic memory or something. You can't, you can't remember everything.

So that's why you spend the time, creating these references for yourself.

And a good way to study and practice this is just take a couple references, kind of like shove them together and then create a new, a new painting from it.

So, taking a scene, finding some color inspirations and then painting that scene.

Totally changing the color palette, creating something new.

I know some people who don't use reference or barely use reference but I feel like using reference enhances creativity in my opinion, but no ref.

You, you can get uninspired. Yeah, I totally agree.

It's like with no, with no reference you're just going to paint, paint something that you've, something that's more generic or something that you've seen before.

So by, by doing that research.

You can find something unique, something that you haven't seen, and be inspired by that new thing.

And then last week we talked about ratcheting edges, longer studies.

This is where you get into like the style of the painting like your personal kind of like finishing touches like how do you how do you finish a piece.

And the best way to do that is find artists that you like their brushwork and, you know, study them copy their, their brushwork and try to apply that to your, your paintings.

Some people have phenomenal visualization skills I know someone like that who totally sees without needing a reference. Yeah, there are, there are freaks out there

who can do that, and that's, that's amazing.

How to improve the use of color in paintings.

So as not to use the eyedropper.

How to improve the use of color in paintings.

I would go back to week two and three, where we, we talked about copying

master paintings and doing those studies without using the eyedropper and thinking about each color choice and why that color makes sense in the piece that will

be used in the painting.

If I was studying this one for color and be like okay the brush.

And then we have cool atmosphere.

So now that cool atmosphere you can tell is hitting the top plane of this brush. So now you have to mix that together in there.

And then the past shadows are like the sky color, darker color of the sky.

And that's kind of how you should go about doing a study and, and seeing these colors.

And the more of these you do, the more that you'll just kind of retain this in your memory. So then when you're doing photo studies or like using a reference that maybe has like a different color palette, you, you already have this built up color knowledge, so you don't

have to color pick from something or

you can you kind of know what happens with these colors, based on the atmosphere, the sense of light, and all of that.

My color improves so much through all these five minute studies. Yeah, it's awesome.

Using a hard prep brush.

So each color is bold choice.

Not a lot of built up capacity.

Yeah, I think, like for me when I'm painting I like to have like a softer brush so that I can really like mix these colors together.

And then, like a harder brush where I can just like make like really bold color choices.

Yeah.

This one, this is to Bernaghi again.

Sorry I say his name wrong, I haven't figured that one out yet.

Yeah, so taking, taking everything and applying it.

Yeah.

All these artists that I kind of mentioned like you just, if you go back to the PSD's or whatever I always put their name. I try to most of the time whenever I can I put their name next to the, to the artwork so if you're ever curious about any of these

artists kind of like the artists that I'm obsessed with right now, you can go back and check those out.

So, applying all this and then taking it to the next level where like you're given like an assignment at work where you're like hey design this location, and the location has to be like this land that kind of surrounds this, this house and the house is like

multicolored and it feels like it's kind of like pieces are built on top of each other. You can take those ideas, find a few references, and then you'll be able to paint things together kind of, kind of flawlessly like make these quick sketch paintings.

You know, explore a lot of ideas, quickly, that's kind of the hope throughout this class.

Some more examples of that it's like invincible. They just wanted like a vast, like epic cityscape. So I found a couple of pictures of cities, kind of like piece them together.

See the character in there.

And then finally a couple images of mountains.

And then for colors it was

his name.

Um, now why am I trying to blank on the name.

Anyways, Oh, I get pain.

Yeah.

I'm looking at like Edgar Payne paintings, because he has like these like best mountainous landscapes that are really beautiful.

Um, yeah, these were done like super quick, loose and rough, just finding a couple references throwing them together, creating some concepts for these locations. These are for Jurassic World.

This is a TV show that DreamWorks did.

Yeah, and same thing just finding references of environment.

And then obviously these have like iconic characters in them so

sometimes I find references of like real people in these locations so I could get like a realism to the light. Go from there.

Studying. Cool.

Did you do value thumbnail, or did you just go straight into color?

I did these current ones, I did a value thumbnail.

I think

I have a couple of these.

I have some PSD's I can, I can share with you I guess I didn't share them here yet.

But I'll post those those later in my notes.

So you can, you can flip through the layers and see the steps.

Cool. So

there are some questions about painting cities.

So I figured that would be a good way, good thing to do this last class, paint a city.

Found some references that were cool. This one is like looking through glass you get like kind of becomes abstract, I thought that was really interesting like what if that just becomes the background of my painting.

I love the foreground of this one.

So I'm going to put those ideas together and paint something in this kind of style.

So an idea. So painting a city like this.

I want to be pretty flat and pushed back into space kind of like this kind of atmosphere.

So things don't become overly complex.

You do something like this you have to pick and choose where to put the detail, like I'd rather have the detail and the dimensionality in the foreground, and then as things go back they can become flatter more simple.

That'll help keep our focus here.

Sometimes I'm on projects where I have to paint like a lot of cities. So what I'll do is I'll kind of create like an abstract kind of pattern of like windows and stuff. And then I'll use this as

like a texture that I can kind of just copy and paste and place around. So I do this by

I'll do something like this.

Just like lasso.

I'll create these patterns of windows that I could use.

And then I'll just do some round

and then I'll just do a few more things for yourself.

I'll do some windows.

Could be some Peter.

Yeah, we could, we could say it's Peter Parker and his street clothes.

Such a useful tip. Do you have any other shortcuts you can show us?

Yeah, there's a couple pertaining to cities I think a lot of a lot of times it's

when you paint cities they can become really overwhelming so because there's like so many shapes repeating shapes and stuff.

So a lot of times it's, you know, just creating like really really simplifying the buildings back here into just a simple shape.

And then, you know, this one you get clear, like foreground is dark middle ground is a little bit lighter background, like things get lighter as they go back.

So, coming up with some kind of formula for yourself when you're doing this to just like make things really really simple.

I guess the be selected hotkey, I could never figure out.

Oh yeah, command D.

Um, I think this kind of what I'm doing here where I paint a texture copying and pasting it.

And then using that as a mask.

I can apply that to a lot of things where it's like a ton of detail.

So, you could apply the same idea for the foliage.

So this is your, your leaves.

I can paste it.

You place this around where you, where you need it, and then you can paint under it.

And then you get something very detailed very quickly.

Then you can paint into it.

And then you have the whole thing to be like high frequency detail you have to pick out areas.

And then you can do this, this kind of technique.

I do all the time because it's like, we have to create like detailed paintings quickly in Invisdev so you know any shortcuts you can do to speed that up is very helpful.

Yeah, Nathan's like master it.

I really like simplified beautiful foliage just picking out a couple little areas to have some detail.

Now it's about, it all goes back to the simple value statement, where you figure out areas where you just want it to be simplified versus areas where you want it to be more complex.

Another one is Ross.

Yeah, something like this where things just kind of go into shadow but it's just about that, that nice simple value and shape design.

And then you have that contrast with like hyper detail.

Yeah, his, his for each stuff is incredible.

Yeah.

Yeah.

Let's look at that so we can see what

look at this stuff.

Yeah.

Yeah.

One related question Do you use a non display tablet, because I've never seen you look down, lol.

And if so, was it hard to get used to it.

Yeah, just use like a medium.

I was.

This one.

12 years old.

Yeah, I started out using using one of these so

I never, I never drew on the screen.

So I never had to like make that transition.

So this feels like very natural to me I like it's good for my posture because my hand can just be like, you know, flat on my desk, keep my back straight I'm not like hunched over anything.

And also, I don't I'm not blocking my screen with my hand, so I like that.

Also, these are, these are cheap compared to like the screen monitors so yeah just everything about it. I love.

If you usually if you work at a studio they give you a, like a screen, like a Cintiq, so I always have to tell them to order me a tablet because I'm not going to use the screen.

Very, very pro into us.

Thank you.

Thank you.

Thank you.

Thank you.

Um, yeah, you have to use whatever tool works best for you know whatever makes you the best artist.

Thank you.

Thank you.

I'm going to start by looking up at things a little bit so I'm going to have everything flat to start with and then I will, I will work, everything into space.

I have like a ton of windows like great in front of this guy, so we can have like a dark over light

value statement.

Now we just have to clean this up.

Let's work these into space.

I'm going to give up the buildings.

Shift Command I to inverse the selection, and then delete and then we can just delete out all the windows from the other values.

I feel like a non display would help my posture but I don't think I can get used to it at the, at this point.

Yeah, it might be tough to switch, because you build that like hand eye coordination that.

I paint, like I paint on the iPad sometimes and then you're, you're on a display, so I don't know.

You can always get get a cheap one.

Get like the bamboo one for like 50 bucks or something.

I don't know how much they are now, but you could always try that out and see, see how you like it.

No, the bamboo works great.

Right.

I find ways to shrimp.

Sport helps so not critical.

Yeah, I have to trick myself into like standing straight out of all the time.

I have got my monitors stacked on like a bunch of books so it's like I level.

I try to stand up portion of the day.

See.

Yeah.

Yes.

I'm going to get my foreground and background separated.

So that I can paint behind my foreground elements easily.

Okay, cool.

So that's

that's it.

I'm going to use those, those windows that I did.

I'm not sure I get these windows selected out.

Okay.

Yeah.

Yeah.

I'm going to put a layer color on that so I know. So I don't lose the windows.

Yeah.

Yeah.

Yeah.

Oh yeah, thank you for responding to the merge later.

I'm just looking at this and picking out areas of windows that I want to be lighter.

I'm going to put a sphere down here.

Just kind of like

a little bit.

Yeah.

There's not any like billboards and stuff in here but something, something you can add.

And then it's cropped by like a couple buildings.

Yeah.

I'll just fold these back.

Here.

Yeah.

Yeah.

So you can see how you can get like the impression of a city, really fast.

Try something I haven't done this before but I just, I just took my, my window layer, I'm going to move it a little bit.

And then use that as another selection to get some more detail in the windows.

And I'm gonna like,

yeah.

And then you can.

Yeah, just gives me like some more, some more details, some more textures to kind of play with. Because these, these windows can get really abstract and probably the more abstract, the better.

Yeah.

Yeah.

Yeah.

Let's mess with this foreground stuff.

I'm going to take a little bit of a dark part of this, and then I will make a mask.

And then I will

basically erase out what I want to be darker.

And then I will make a little bit of a dark part of this sky coming forward.

Sometimes it's just like getting some texture in here so then you can build something up from the texture.

These can get pushed back a bit more.

Nice and easy.

And then we'll just put a purple into these so we feel that back into space.

As you're painting you'll see like areas in the city where you, you feel that you need like another like section of lights or something.

And then you just go in and add that in.

You got a question.

I'll stop the question but how do you overcome the feeling that you don't belong.

The imposter syndrome.

I was asked to teach at a local college for character design, but I'm just 21.

I learned on my own with the internet, with no academic background, and here I'm supposed to teach 22-25 year olds. Like what the heck.

Like it's not my place.

Yeah, well, first of all that's that's awesome. Congrats, and well, they want you to teach because they, they see something like special or unique about your work.

And I think I wouldn't worry about the, you didn't have like the traditional like school, college process or anything like that it's like you, you learned through these other things like, like learning online and doing your own studying and stuff like that.

So I think you could teach based on your, your experience.

Just be true to yourself.

I think that's, that's pretty awesome.

Because you'll have a different kind of view of this stuff.

Like, for me, most of my learning came from just copying and studying like thousands of master paintings.

So everything I've learned is just kind of based on that like I didn't have like a good

like art college that was like oh this is how you do, like your value layout and then this is how you add in your colors and the site and texture.

You know, so I have like maybe a more unique way of kind of teaching the stuff.

So,

yeah, just lean into

lean into that. I think that would be cool.

I think, you know imposter syndrome.

As long as you're always like looking critically at yourself you'll kind of always have like a little sense of that, because there's always going to be like people better than you, people that you want to like learn from you're like oh why would they hire me when this person

so much better.

So it's, yeah, it's not, it's not a bad, a bad thing. I think,

you know, sometimes I'm like oh maybe I shouldn't teach like I have so much more to learn.

But then I'm like, I've got a lot of stuff I could teach as well but I'm always going to continue to learn and grow, you know.

A lot of professional artists never went to art college or even took art classes.

That doesn't diminish your skill. I think it just makes it that much more impressive. It's definitely worth recognition.

Yes.

Thank you.

Thank you.

Stuff back with atmosphere.

Thank you.

Thank you.

Thank you.

.

using a Blender Brush. Yeah, I mean, I think generally it's a good idea to paint those

gradients and stuff yourself so then you have more control over it.

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Make this texture,

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And we can select that.

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We can apply some wetness to the ground.

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Interesting round shapes.

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Thank you, cool, cool.

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>> Ron, it's a pleasure, thanks for everything.

>> Yeah, yeah.

Working on developing painting skills and try to keep posting updates on my journey.

>> Amazing.

>> Cool, yeah, I think that's about it.

Any other, we can do last questions and then we'll wrap it up.

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What class would you recommend after this one?

>> Depends on where you're at, like VisDev one or two.

If you want more of a,

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Fundamentals and kind of like an intro course into VisDev, then do one.

Do VisDev one and then you'll get like a strong set of fundamentals that then you could take and then you can use all those skills to create very bold paintings.

VisDev one is kind of, in some ways it's a step for this class.

We're here, we kind of just jump into two paintings and just doing lots of quick, quick paintings.

But VisDev one, we take a look at like the thought process behind value grouping and all of that.

And then we go into like composition and intro to color.

It's kind of like baby steps a little bit more.

VisDev two is meant to be taken after one.

So you have the fundamentals, you know how to create an image.

Now you're making a portfolio, you're making like a body of work.

And we go through like the full film process basically.

Sketch out your story, color, color script, and then taking those color script images, turning them to more final images.

Then we get into like props and color keys and kind of like a crash course, like everything, everything you'd need to know for a VisDev job.

So yeah, it's totally, totally up to you what you think would be best.

Thanks for class, learned a lot. Awesome.

Will you announce new VisDev class this year? Yeah, I think I'm going to announce this week.

So if you're on the mailing, I will notify the mailing list and the Discord when before I post it online.

So you have a chance to get into the feedback if you want.

If you want to be on the mailing list, just give me your email in on the Discord.

Let's see, you can.

Thanks for taking our progress. You can post it on the class chat and I'll put you on the mailing list if you'd like.

I think I'll announce that this week. I just need to kind of like plan out what I'm going to do next.

Watch the recordings, redo the homework. Yeah.

Do you do portfolio reviews?

Yes, let me.

There's not, I don't know a good way to do that right now, but yeah, remind me on Discord, or you can send, you can send me a private message and I can take like a very quick look.

I don't have time to do like, you know, an hour review for everyone but I can do a couple minutes is like, you know, because you took this class.

Happy to do that.

What courses are you doing next? Either VisDev one or two, I just have to look and see which one I did last.

And then do the next one.

I was wondering how you manage your stress level when doing stuff like this for work.

I feel like I'm getting, starting to understand the process steps here but when the painting is labeled for work, or when I want to create like a portfolio piece I sometimes lose strong process steps and want to do everything in sketch phase.

Yeah, I think I know what you mean like sometimes like if an image is for something specific like, oh, now I'm making a portfolio piece or this is like, I'm getting paid for this piece then you kind of like psych yourself out, and it becomes.

You kind of like freeze up or you don't make like the right decisions or you like overthink things.

I mean that happens to me all the time so I kind of created this kind of process for myself to get over that so it's like very quick and

I, yeah, I forced myself to be like quick and messy and loose for as long as possible so I'm not as precious with the painting.

And I find that that helps me to be to produce better paintings more often, and helps me to not get too like in my head when I'm like, oh, this is like a piece for like a pitch meeting at work, it has to be like perfect.

If I'm like, I don't care that much I'm just going to do like a quick messy painting.

I might do a couple of them see which one I like better and then detail one, a little bit more, it's kind of like making. I'm just like putting less stress on myself.

We're not automatically in it.

Okay, Michelle do you mean this, this course you're automatically in it forever.

But if you want to do like one of the other classes you have to get that one separately.

Would you teach the two days color workshop again.

Yeah, I might down the road.

So, yeah, if you, you can always get it. Whenever you feel like it watch the lessons.

And then when I teach it again you'll just get notified.

You'll get an email when it's coming out again and then I'll do it again.

But yeah, I'll teach it again when I have like major updates to it.

Are you going to receive, you're going to receive thousands.

But Drum Road has all our emails.

It, it does but I don't want to email everyone.

I want to only email the people that want to want that notification.

So if you if, yeah, if you if you want to be in the next one or whatever just put your email.

Cool, cool.

Great. Yeah, thank you guys so much.

And yeah, keep an eye out. I do like a sketch meetup once in a while. So you can, you can join that whenever you have time they're always recorded so if you miss it you can always can always watch it if you want to come and hang out and sketch for a bit.

I tried to do those.

Also I have my notes to finish up a couple of the demos that I did earlier so I if I do that.

I don't know when I'll have time for it, but I'll try to do that eventually and then I'll post the recording as well.

But yeah, thank you guys. Thanks for being a great class, all the great questions.

You guys are always awesome. Really appreciate it.

Thank you, Zach. This is awesome.

Yeah, welcome.

Thank you all.

Have a great rest of the week and keep in touch.

Bye.

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