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Is she turning towards youor away from you? No one can agree.
She's the mysterious subjectof Dutch master Johannes Vermeer's "Girl with the Pearl Earring," a painting often referred toas the 'Mona Lisa of the North.
' Belonging to a Dutch style of idealized, sometimes overly expressive paintings known as tronies, the "Girl with the Pearl Earring"has the allure and subtlety characteristic of Vermeer's work.
But this painting stands apart fromthe quiet narrative scenes that we observe from afar in manyof Vermeer's paintings.
A girl reading a letter.
A piano lesson.
A portrait artist at work.
These paintings give us a sense ofintimacy while retaining their distance, a drawn curtain often emphasizesthe separation.
We can witness a milkmaidserenely pouring a bowl of milk, but that milk isn't for us.
We're only onlookers.
The studied compositionin Vermeer's paintings invokes a balanced harmony.
With the checkered floor in manyof his works, Vermeer demonstrates his commandof perspective and foreshortening.
That's a technique that uses distortion to give the illusionof an object receding into the distance.
Other elements, like sight lines,mirrors, and light sources describe the moment through spaceand position.
The woman reading a letter by an open window is precisely placed so the windowcan reflect her image back to the viewer.
Vermeer would even hide the legof an easel for the sake of composition.
The absence of these very elements bringsthe "Girl with the Pearl Earring" to life.
Vermeer's treatment of light and shadow,or chiaroscuro, uses a dark, flat background to furtherspotlight her three-dimensionality.
Instead of being like a set piecein a theatrical narrative scene, she becomes a psychological subject.
Her eye contact and slightly parted lips,as if she is about to say something, draw us into her gaze.
Traditional subjects of portraiturewere often nobility or religious figures.
So why was Vermeer painting an anonymous girl? In the 17th century, the city of Delft,like the Netherlands in general, had turned against ruling aristocracyand the Catholic church.
After eight decades of rebellionagainst Spanish power, the Dutch came to favor the ideaof self-rule and a political republic.
Cities like Delft were unsupervisedby kings or bishops, so many artists like Vermeerwere left without traditional patrons.
Fortunately, business innovation spearheaded by the Dutch East India Company transformed the economic landscapein the Netherlands.
It created a merchant classand new type of patron.
Wishing to be representedin the paintings they financed, these merchants preferred middle class subjects depicted in spaces that lookedlike their own homes surrounded by familiar objects.
The maps that appear in Vermeer'spaintings, for example, were considered fashionable and worldly by the merchant class of what is knownas the Dutch Golden Age.
The oriental turban worn by the "Girlwith the Pearl Earring" also emphasizes the worldlinessof the merchant class, and the pearl itself, a symbol of wealth,is actually an exaggeration.
Vermeer couldn't have affordeda real pearl of its size.
It was likely just a glass or tin dropvarnished to look like a pearl.
This mirage of wealth is mirroredin the painting itself.
In greater context, the pearl appearsround and heavy, but a detailed view shows that it'sjust a floating smudge of paint.
Upon close inspection, we are remindedof Vermeer's power as an illusion maker.
While we may never know the real identityof the "Girl with the Pearl Earring," we can engage with her portraitin a way that is unforgettable.
As she hangs in her permanent homein the Mauritshuis Museum in The Hague, her presence is simultaneously penetratingand subtle.
In her enigmatic way, she representsthe birth of a modern perspective on economics, politics, and love.
Here's another cool spray painting for my subs enjoy 🙂 I know it's been a while so I hope you enjoy the video The paint colors I used was black,white,yellow,orange,and red I am trying to get to 20 Subs I am at 17 if you stumble across this hit the subscribe please 🙂 So thanx to all my subs so far up to this point 😀 Art is one self expression of how the see there selves We are all different in our own unique ways that is what makes us CREATIVE.
Craft table Autumn leaves Collect the leaves of trees or flowers Press with them eg.
Between the pages of a book, under the weight of Old notepad background cardboard Prime Gesso to make cardboard 1 horizontal and 1 vertical layer Paint the cardboard with acrylic paints I used to paint the fungus I painted gradient yellow to orange to dark orange Design magazines Places Glue them yleisliimalla (Different Keeper) Frame it flat!.
The video I somehow lost in recent years 'La honk! Yuponi Moth 'indeyo the protagonist of the anime Kumiko right, left Reina This day is Pepero dagaohneunde've drawn their anniversary! Similarly, the feeling of a kid trying wrote In the middle of the gun it has been modified several times sketch changes suddenly.
ㅠㅠ Yeah The visuals put through sketches and contrast.
Now it is here.
Cigarette case with biting mouth ahnigu I Pepero! ㅠ eopeusigil misunderstanding!.
BEST FACE PAINTING EVER.
Let's begin! Hello everyone, today we have a stream with a wonderful Evan Amundsen! And with you as usual Alexey Melnikov and Alice Khusnutdinova.
Hi! Evan, can you say hello! – Hi! – You do not want to be rude, right? If anyone has not noticed, the stream we have today in English, but if you do not know, then do not worry, then lined with Russian subtitles.
We can start with the questions.
Are you happy to be with us? Say yes"! Yes, not a bad way to spend an evening.
We usually ask the standard questions first.
I guess it would be terribly boring and boring question, but tell me, please, how did you start to draw! How did you decide to become a Sijil-artist? Well, it all started with a childhood.
It is difficult to give an exact time can be different to say.
But the very first attempts were six years old.
The first day of school.
Dad told me that the day I drew a pirate ship.
Here is our first evidence of my risovatelnyh inclinations.
But seriously, as a career, I thought about it later.
I have until the end of high school did not know that there is a digital painting, concept art, all that.
So I just liked drawing, liked comics.
I liked the idea that it is possible to make a life for a long time but I never thought about it seriously.
And thanks to the Norwegian educational system and I did not have to think about it too early.
It seems seriously to invest in this direction, I became 19.
To become an artist seriously.
And to learn more or less seriously started with 15, we will then present to my best friend realized that drawing and art – is discipline, and they need to learn properly.
That is not just magic.
So that's when I made my choice, I guess.
That is, it was not a childhood dream, like "one day I'll be like Da Vinci" or something like that? Well, not quite.
My parents, grandfather, sister, her husband – all the engineers, so I grew up in a family of engineers, that is, practical people who know how to solve tasks.
You're the black sheep of the family.
Well, my grandmother I have a good artist.
That is not to say that this activity the family does not approve of.
You're the black sheep of the family.
Well, my grandmother I have a good artist.
That is not to say that this activity the family does not approve of.
I did not have to fight them, to prove something.
I was accepted, supported.
I probably was not sure I wanted to be an artist, an artist for art's sake.
That is, if we have such a job and a career – I am in favor, because I love to draw.
But here intervenes even such a thing as "Janteloven", "Law of Jante", it is a social contract, the basis of our society.
This piece calls on all of us do not think too highly of themselves and their aspirations, not perk up, do not forget, even when you will achieve some success, always remember that the society – more important than you.
That is the place to remember the owl.
Big dreams – it's such an American thing, so.
That is, of course, I was very pleased that the work turned out to be something so! Oh, something I mumbled today, too little drinking coffee today.
So if I have too long carries is not clear where, interrupt me! People say that you heard not so good, if you can speak a little louder, okay? Right now, do something.
You now see my screen, right? Yes.
How do I change my microphone? And that, it seems, he is a bad default microphone tuned.
You can adjust the volume of the microphone or I hear you.
We want to say that now is heard well.
And, all right? Give me a sec.
Can we just turn down a little.
Maybe take a break and.
and configure all? Alex could tell you how to do that? I simply do not know this program.
If you want to change the microphone, you can delve into the settings, but everything seems to be working, so.
Then we settled on YouTube.
Guys, when you hear bad Eban try headphones, sometimes it works.
Everything had already begun to question "how old are you" and "how many years you've already draw" I am 27, November 28, will be God.
Well, I'm like I said, there is evidence that the draw, I was six years old, but but seriously I started with 16-17 years.
But it is normal, I began to study in earnest straight years from 18.
So about 10 years, it turns out.
As I recall, you wrote that you began to study the figure on the forums, right? Yes, I came across conceptart.
Org DeviantArt found before, but both then and now, it seems to me, it is not the best place to learn the artist.
But – conceptart.
Org – it was a great place for a beginner.
Everyone who was there active – all learned all helped each other and supported this tiny community.
That was awesome.
Have you seen "Gladiator"? "Once upon a time Rome was a sacred dream.
It was said in a whisper.
" That's about the feeling was.
All were kindred spirits, brought together for a reason, for one purpose.
The fun was to stay there for several years.
So the forums I have more influence than, for example, the School of Arts.
skusstv School was just a good excuse and a cover for teaching.
And sitting on the forums.
Alex wanted to ask another question.
– Yeah, tell me about your first job as a painter, a couple of words.
Good! The very first job gave me a tiny studio in Texas, called Antropos games, at the time I was studying in England.
I was hired to come up with the characters, and paid $ 50 for the character.
That is, the fee was not very much, but I was very pleased with its first opportunity to work and to gain a portfolio of things, to participate in creating the game, and the first name in the list of clients.
It was exciting.
And later in the same year they called me in the studio, across the ocean, in Canada, in the Volta Interactive.
A lot of names of options out there, in general, Volta Studios.
There we did autsorsnuyu work.
it was also very interesting.
Here everyone is asking what you're doing right now.
That is, not only now on the screen, but in general, all those pictures that you load in instagram and other social networks and galleries.
Can you tell us about it? It's not a job, but you do it every day, right? Well, yes, that is, for me, it's like work.
But I do not pay for it.
I would be glad if someone paid for it.
As they say, I would be happy to pig squeal.
It all started with what I have 1 January of the year was very unhappy about his work.
And my friend Espen Satervik (Espen Olsen Sætervik), he is also an artist, he came to me in California, He gave me a book to read, "The first player to get ready" ( 'Ready player 1'), and we both zafanateli then began to discuss it, talked about the plot and characters.
Like all booms.
And there liked the characters, and my friend said to me: listen, so draw them! And I was persuaded to draw easy, and I was – yes, why not.
I drew a hero named Art3mis.
He is the type of a steep gamer.
And then my friend said to me: you need every day this week is to draw.
And I said – yes, great.
and then I had a month and then year.
It seems that in the first week I drew the character for a day.
I am trying each time to do something better, more interesting.
It seems that by the end of that week, I had already some character with sujet, I liked it, so I tried to complicate things and add interesting options.
By the end of the second week, I hit on the idea to invent a character for a day, it was an interesting Challenge – able or not.
Do they not for the customer and for a long time, but for themselves.
Force yourself to put a tough time, for two hours, for example, to check if it will make a high-grade authentic character.
To him it was a place in the world.
It was interesting.
Then after a while began to add some scenes, it seemed to me that the characters have interesting enough to add them to any plots or setting.
And when the day came, in which I did not have any new ideas for the setting, I felt that something must be done anyway.
Because I had already liked to do it.
And I did not want to interrupt the flow passing day and not laying anything on that day.
Where once I thought "well, another day", "once a week", then at some point, said to himself, "Well, until the end of the year.
" So I wonder if I'll be able to overpower the 365 days.
And, it's a leap year of 366 days! And I thought – well, okay! Jesus Christ.
And, no, I'm sorry, oh great one! Who?? Or Tor.
Heimdall sir! In general, such an idea has been here.
Then people began to follow behind it, and then my friend, he works with books and printing, he noted that there is another artist who does the same thing.
And now I'm going to kill his name – I did not learn it prozinost.
His name is Gillian Atta.
He's a great artist.
And he did the same thing every day.
Prior to that, I am not very conscious approach to the daily drawings.
I was very inspired by what he does, I can not tear myself away.
So I began doing more illustrations.
And my friend offered to do this book.
And this something we are doing now.
Someday we will all gather together and will publish.
Maybe then I'll have to go back and clean up all the stories, and so many of them.
A lot of them.
In general, then go and will publish.
And it will be a book.
If my hands accidents still will not surrender to the moment.
I would like to do something like James Jean.
Or Kim Ki Jung.
They also publish sketchbooks.
And you want to see how people will meet it.
If there is a lot of interest, you can try to produce annual collections sketchbooks.
If I heard it is artbook, not a novel, but the pictures with descriptions? Some just released artbook, like, here are my pictures, this is my artbook, here I am a tough guy.
But your still are little stories that you're instagrame post? Yes.
Hopefully, the interest will be high, then it will be possible to increase the project.
Then history will be doing longer.
Or Patreon start for him, or something else.
It would be interesting to develop this setting.
I am attached to this world.
If it could be continued – it would be fantastic.
"Tales of Mother Evan!".
Like a fairy tale Mother Goose! I mean, you said a year – there were only two months? 60 days 61? And what further plans? Not only in the sense of work, project work, and here, for example – the second book? Or.
Well, that all depends on the project.
Maybe make Patreon.
We will see.
And soon, in January, I will be working full-time in a studio in Copenhagen, so that at the beginning of the month will be a little bit of time to relax a little bit for the holidays.
And then it will be necessary to think where to develop this project, and some time will be spent on the preparation of the book.
And in terms of what I liked and would like to do.
I would like to write longer texts and illustrations to make them.
People ask, and now you are whom you work? Are you a freelancer or in the studio? Tell us, so that we can better understand who you are.
Yes, it is necessary to properly introduce myself.
Now I live in Copenhagen.
I work in a creative team called The Embarassing Company Drawing Collective.
This studio, but the studio freelancers.
Directly, normally, nobody anywhere does not work, all freelancers.
But since January, I and my colleague in the studio, Eysing Jasper (Jasper Ejsing), we are with him on many projects together for work, and both will work in the state in a Danish stdii, we make the world.
It is very exciting.
Something like this.
I do illustrations, concept art.
Most often it is the characters, concept art and illustration.
And in the evenings I am doing my sketches.
I hope, will be more questions? Yes.
You said that you were greatly inspired forums.
And now there are some good community? If not, where it is best to talk to artists? I think.
It's hard to say.
I think if you are a beginner and you want to find a good place with the spirit of partnership, and if you are interested in learning, it is the best place, judging by my last experience – perhaps this experience is obsolete – but in my experience the best place to study and to cool atmofsery – is a Permanoobs forum.
where there is a figure from the golden age – Hannes.
always forget the name of.
But he's created this forum.
And he that was the idea to revive the idea of a forum where people can socialize, learn, criticize each other and improve.
Here there can be.
And Facebook is also to fig and more Spin worthy of attention.
I especially did not communicate them, but most seem to me normal guys.
Although some of them are constantly creating around himself some drama, and that this part of our community, I always hated.
Well, I not hate, but I was disappointed.
Because it seemed to me that it is necessary to focus on more important things.
Well, you know, on the philosophical issues of art on different approaches to the solution of problem, and it is not necessary – on whether to use fotobash in the works.
I do not know how abroad the matter known, but thundered loud enough.
I am sure you know that Craig Mullins, in Russia, it is also known, too, after all, huh? – And that around it there was a whole drama.
Delve will not, but it was about the fact that he participated in a commercial operation.
And the most important thing and the old rule is that in a commercial operation rules are not – we are all corrupt, that's fine.
And he used the photo in a tiny piece of work.
And someone said.
And direct from this crazy.
And I grew a scandal! And some of the others pulled directly: Speak on this occasion, to express their opinion! And for those of us, to whom all this is inconceivable on the drum.
Well, in general, horror as annoying.
Very frustrating and demoralizing, when you see people you actually respect, descend to such mindless.
just mindless sracha on occasion it does not matter.
And it alienates the people who are not so purist set.
Those who are willing to say, "Well, yes, this is a commercial operation, all along, let's talk better about Picasso.
" So here are these things better in the forums avoided.
Beware of AMD.
If you come across – do not participate in them.
Be above it.
I think there are places.
So who seeks will always find.
And I'm sure there are people who did not like to conceptart.
But for me – it worked.
In my experience – this is only my experience, so I can only speak for myself.
But now you can say, lucky not to work at home alone, sitting with colleagues.
obschaeschsya You said you work with other freelancers.
And what have you got there the atmosphere? What a joke, as the time spent? Depends on the day depends on who's here.
Not as formal as in other studios, where I worked.
If you need a weekend.
Last week, for example, I umotal two days in Germany.
And there is something in it, in this freedom, the possibility of a crank, without any sense of guilt, that dumped burden on colleagues.
No, just – oh, a friend came to Germany for a while, and I've been around, I hit the road a minute with him at the concert.
This is cool.
And it's great that people around the expansions that are engaged in some other business – it's good that they are doing is not the same as I do, that they have something of their own.
It's great because you can see what others are doing, something to learn from.
I just wanted to say that it was a good experience, not a career, but as an artistic experience: peep over his shoulder and say, "Aha!" "That guy like that draws!".
And we can learn from the techniques.
Or are you more each on its own paint? Most of all – the last one.
Because most do not deal with that.
Most do not engage fantasy illustration.
There are coffee illustrators, there are a few writers.
But their work is still inspiring, and much can be learned.
To him this is not true, it is also fantasy illustrator.
Few things compare to the opportunity to work next to the idol worshiped by years from the original 16.
It's behind me right now hanging on the wall above the door.
So if I ever burst with pride for some their jobs, we need only turn to the right, and.
I was under fire all this splendor.
And then I skukozhivaetsya back and say to myself, "Damn, yes, I do still not even close.
" There is good work.
People here are asking, and what you're drawing? It's not a girl? Who is it for crow? I know about them is to be the story.
Can you tell? If you read yesterday, that's.
I'm here for the end of the year, something cooking.
Something a cliffhanger.
For people interested.
Yesterday I drew a guy in a vegetative armor.
He looks to the rest of the wood army.
And here it is – one of the soldiers, whom he sees.
Most of the people of the tiny fairies.
They are the scouts.
I wanted to show some of their people.
A couple of weeks ago I drew one of them, a girl on the sparrow, but it was half-naked, wanted to show today is still an option.
Not the same girl, but a representative of the same people.
Now armor such Pozdov for autumn / winter.
As they dressed in the winter? Again on the bird, yes.
But once they go to war, then Skaune need to do better.
For more severe conditions.
It is not a sparrow.
So, maybe a crow.
I'm not an expert on birds, but I'll deal.
Do not be shy.
Question from the audience: you can give a couple of tips on how to start a career? How old were you? And where to start networking as a communication start? Your Well.
Yes, it's a long time.
Where there nachchinalos? How to find the first customer? A first client.
That's the sort of thing I had just about my experience I can tell you.
No major principles do not know, but maybe they are.
That is why we have invited you and.
Share your experience with us! I'm sorry I interrupted, continue.
My experience – as I said – Antropos.
The forum conceptart.
Org stumbled on some site for freelancers there was just a forum with proposals undermining frilanserstvom.
And there I found my job and.
I am very much obliged to connections and networking, although the principle itself hateful to me.
For example, work in Canada: there I was only then that I was familiar with the forum spoke about the possibility about the vacancy.
And he sent me a link to them and email address, and said, "Write to them and ask them for a test!".
Well, I did.
So friends – this is important.
I'm not saying that we should be nyashki because I am not a supporter of California's "always smile" – it scares.
But it is important to be civilized, and basically good.
I do not think that.
Networking, communication – this is.
the risk of sounding rude, but it's like to seduce someone.
If you go with the obvious intention to hook up and put to bed, the chances of success are reduced.
And if you go with a clear purpose of networking, some people it's just feel and much less to be customized with you friends, and you, in the end, you have just that.
Networking, communication – this term is very misleading.
After all, in actual fact you have to: that at the time of job someone has been so good to you seems so they thought, "Oh, that's cool it would be to work with him!" And it is not necessarily "about what a good portfolio, fourth from left.
" So important is this way to treat everything, I think.
In order to be sincere.
No need to be a careerist, a sociopath.
So in terms of relationships – just be a nice person, and people will appreciate it, but if not, then you will with them is better not to work.
What was the second? In general, the thing is: be yourself, just do what you like, something like that, but you sit at home doing nothing and just wait – is not an option? No, it's a little more complicated.
For example, if deep down you are a complete asshole, you should try and, well.
In general, everything has a dark side.
All assholes I've ever met, which keep in touch, or among my friends – they are something assholes, but something genius.
So if you have a skill going wild, you can afford to be a little bastard – it's easy.
But you still need to find where you are hiding in humanity, and where, in what points should share it.
But as in the work plan.
In terms of finding clients.
The same thing that people respond to the question "How to make a portfolio?".
It's a balance between what you can do and what you want to do.
And in either direction shift it depends on how much are you willing to jeopardize your ego.
If you there is only what you want to do, you will get more failures, and you will be painful.
What if you have a portfolio strictly for work purposes.
But on the other hand, if you manage to find a job that's your dream portfolio, you will be happier nastooooolko! If you can work on what you want and how you want – this is, of course, to achieve the main goal.
So it's all about balance, everyone decides for himself, I think so.
There is no strict rule.
There is only a series of trial and error.
I'm sorry, I'll once again notice: if you want to ask a question, do so using the form I was in a chat room on Twitch and hitboxes send you a link.
I just asked everyone to ask questions in Russian, and it is inconvenient to them here and there to translate.
Then someone wrote, "you do not draw, Jon Snow!" What's this??? In my opinion, this is a reference to one well-known masterpiece! Oh no, what is this mystery? You said that the concert came to Germany? I think it's time to ask you about what inspires you in addition to the artists – books, music.
About favorite music and books a lot of questions! Mm-m, in terms of books – I read almost everything! Give me a good book, and I swallow it.
But favorite authors – those who know how best to create worlds.
The most favorite – it is those who chose.
Right or not, but those who have the courage.
Have the courage to choose a belief point of view, and to adhere to it and defend it, and to promote – that it deserves respect.
So that's why I like Terry Pratchett, so I like Douglas Adams.
Yeah! And so Martin also respect.
Although, well, it is clear that.
So, well, to be honest, I must admit.
If someone wants to give me for it in his face – well, let's! Try it! But I'll tell you.
I'm not a big fan of the series.
I think it is something very important of the books lost.
And very sorry.
It's not in the casting, great actors.
Well, in most cases.
And it's not in the script, it is well written.
Due to the fact that I was a bit boring in terms of their own craft, I believe that the design of the costumes and all the visual part – it's all a bit wrong.
And it seems to me that all these mixed arches stories somehow changed the essence.
And I'm sorry, because, well.
I understand that they are trying better to apply the audience, and the whole pace also do so to the audience was all easier to perceive.
But I think they missed an opportunity to somehow educate the audience, to accustom them to a new format and a different pitch.
It seems to me that everything done too fast, and many have missed the finer points of the book.
As a result, the story told in the series, I'm not interested.
Last season, for example, viewed with one eye, and he gave me is not particularly catchy.
On the contrary, it is very interesting to be in the book.
I need this book !!! So, it all started with what inspires you.
Oh yes, I'm sorry! Oh, no, everything is fine! Just I wanted to ask you to return to the issue and talk further.
It's okay! So, about the book seems to be finished, they stopped.
In music I have just one group can award the title of "the best band in the world": This The Pixies.
Best group of those that were and will be.
And if you want to compete – again, well try it, bitch.
You throw a challenge.
Yes, try! And this opinion I can not prove it's just a subjective feeling.
Protect this point of view the facts, I actually can not.
But I love the Beatles, and indeed almost all the music.
But he took the musical "Hamilton" in recent years I have – he is a fantastic simply listen.
Sorry, if you remember, we asked you about Harry Potter.
Can you repeat your answer? Gryffindor or Slytherin? Neither one nor the other.
You said, "Hufflepuff, bitch!" Yes.
Well, just a Gryffindor, I think, makes people reptiles.
For example, they show pride where better to be modest.
A Slytherin terrible reputation "of the Faculty of Evil" – all the evil characters from there.
The double negative effect: all kindly people at this faculty is still a gun will be considered wicked, but those who really have a tendency to.
to this kind of magic – it goes here is a stereotypical image.
Some poisonous system they have there.
So it is better to choose all Hufflepuff.
Be diligent – and be good! And if you get into the subtext, then there is grass.
And who does not like grass? Clear.
So, back to the drawing.
About the figures a lot of questions.
Let me find the question.
Awesome color you; you draw from BW to color, and the colors are still bright and beautiful.
How do you achieve it? Give me some advice about this and about the composition? Tell me, please, can, about the Pipeline as you work, about the line, about everything?.
It is an undeserved compliment, by the way.
Color me very much secondary to the tone.
Thank you for these words! It's not my question, that of the viewer.
Thank you, man.
The answer is not quite straight, but I will try to convey the main spirit: I hope in the future to become a good painter.
So far I have a decent colorist.
The difference is that that when I impose the color vision of the character does not change.
I have everything goes on online.
He formed no color.
I add the color in addition to all.
The approach I have is simple.
Like most classes, I break a large task into smaller and solve them separately.
It is easy to imagine: I start with a sketch of the work, then clean out the line, do the finish line, then do silhouette with sharp edges, then add a flat color layers to Multiply, then add another mode overlay tone Then merge all and on top of the normal layer has dorisovyvat.
Nothing original, but effective.
And it seems to me very important.
In professional work.
Because personal papers – this year at least – I tried to rethink the larger picture rather than picturesque way.
Otherwise, it would be necessary to do more than stadika.
In general, my main philosophy is that figure that in the painting – Splits large task into small, to solve all of them individually, and at the end merge into a single entity.
It sounds cool.
Question: When did you realize that "here it is, suc-e-eh I'm cool-a-en!" I'll let you know.
That is not, that is not necessary here "oookat".
I just realize where I am and where artists of the highest order, that I know of.
Every day I learn new artists.
And I always try to resist his Entropic slip on the ladder, if you know what I mean.
I do not know a lot of people began to follow me, and very good fidbek get.
For all this year.
It really helped and cheered, and I was very upset when he returned to freelancing, I cast Blizzard.
And very worried about returning to Scandinavia.
So all this support from the audience was very helpful.
But I still rattles clear stern voice in his head, he annoyingly skeptical about all this applause.
I was sitting in a cynic, which hisses "No, they pretend they do not know what they say, and just turn your back – you stuck a knife in the back!" It sounded like something worse than I thought.
But, I do not believe in any height achieved.
There is the question of what was the most difficult in the beginning of the artist's career: lack of time, lack of skill, what else? And when you started drawing professionally for the money – what has changed? After all, if earlier it was a hobby, something you like, And now, I do not know.
So, I will respond back to front, so it is better to be.
My first experience of this professional work, in terms of a normal speed and volume – then I move to Canada was, before that I belonged to the whole as well as for personal use.
And then it seemed reasonable, and somehow did not even arise no cognitive dissonance about the work.
But when I moved to Canada, the need for what I now call a professional painting, became apparent.
Because I worked a dude who I am now happy to call one of my favorite mentors of all time – Arnaud Pheu.
We did not get along.
We are both very hot and testy, and arguing about a bunch of things.
Especially problematic was when on the same job together worked.
Then I learned, in what points should forget about your ego, It was the first of his important lesson for me.
Because we both ctoyali mountain each for his idea for each sketch.
And when nowhere came, they began to quarrel.
Anyway, at some point we realized that behave like small children.
And such a lesson from this, I ordered: Kill Your Darlings.
Do not hold on to them, nothing else is not determined until the very moment when you do not pay for the final.
And when you work professionally, then a special system of the path to success and in the definition of the rules, not as personal works.
In his personal work, for example, I can be selfish at the most can not.
Although still have principles, I try to follow.
For example, for personal work, I do not resort to photo-textured and fotobashu.
I'm not attracted to, and I do not.
But if it is a work in which this will be necessary – I nafotobashu.
And for a moment to reflect.
Because in my work, I am my own master, and when people pay me, I am no more than a good prostituka.
Professionally, if I paid for it, and if it does not goes too opredelannye framework honor – yes, I'll do it, of course.
So what if I am in this way do not like to work for another such order can not take.
But when it comes here this craft, which I have chosen, I will fucking professional.
And I will do the job.
But I will do what makes me happy for personal projects.
Sounds great! If I am too long something tambourine, you stop me, but I do not know when it becomes uninteresting.
No, all is well.
Generally, you now answer the question that we usually ask at the end.
Well, then duplicate, if that.
Another issue – not from me.
From the listener.
Not sure about Nick.
He said, from the outside it is impossible to draw a good character.
We must become that character.
Do you think this is the right way of thinking, or can be draw without associating themselves with the character? Thee is difficult? Just as far as I can judge from your drawings, you doing the characters one by one, and is not very clear – you seriously or not.
So tell me, Are you hard? Whether you become a character at the time of the drawing? I think it's good.
in some way.
the question I think is good in this way to meditate, but when it finishes work on the character.
Usually I decide that a character is ready, when I almost feel the physical presence beside him.
And as I understand, they can surprise me.
Not in the sense that they will be true me as a surprise.
But I can imagine them for some action.
That action, which impressed me.
Then I decide that all, the character is ready.
I think to create good characters – it's important.
This empathy is very, very useful.
And I think, for anyone who wants to draw a character, so that's important to understand the people, their role.
When you can feel a correlation between them.
It's the difference between a good artist and a great artist.
Picasso caught it very well when he said that good artists borrow and great – steal.
And then the same thing.
He's not the physical theft had in mind, and mental.
And the fact is that a good artist borrows from other artists.
Brushes, or style, or individual career highlights, or style.
A great artists take the mindset.
Steal the very source, connect it to your creativity.
And then everything will seem that it is original.
This was his answer to the question how he manages to be original.
He just did what he stole, but not in the sense that appropriating someone else's.
If you know what I mean.
Usually we say guests that right, no wrong answers, answer what you want! Wrong answer, but there are many! No, it's much better than short answers! Better than "yes", "no", "do not know", and words can not pull over.
And there are three hours of questions unanswered – it's awful! So thank you! I would like to come back to your Daily Challenge, about him a lot of questions.
So, let's see.
When I see your sketches, I wonder: it is not just the outline and full concepts and illustrations.
How do you find the energy for such work? And how much is spent on a job? And there are many more in the style of questions: you long cherished these ideas, or all images just started appearing in my head while drawing? Can you tell us in more detail all? No, it's not so easy – sat down and hop image.
No, it is sometimes.
Usually when I come in with someone disputes about inspiration, I remember as Hemingway said: "Inspiration does not exist.
" I think inspiration exists, but it comes while you work.
It's a good thing, but it alone does not get you anywhere.
When it came, and you are not ready – to sense zero.
I always have thought that draw.
And preparations for the next sketch usually starts about 15 minutes after the end of today.
I wonder if I will develop the previous topic, or something brand new start – in general, the background all the time something is.
Today's example, by the way, good.
A clear idea for it came somewhere in an hour before we phoned.
Of course, I was thinking about what to put into the picture.
What else did neither I nor the other, even in the so hackneyed? And what interesting can be drawn for the put yourself time and that would be fun? And the previous fairy I liked to draw, so I decided – that it would be a good idea.
And so I thought, how to do things differently, as shown by a character in the setting.
And at first I was not really thinking about the crows, and then began to think, how they walk, how they sit, how they would react to the rider.
And then I got this position for bird and rider.
Sometimes it comes to the topic head, sometimes proposal is stuck in my head.
A million different things.
And after 100 days, I have a lot of little tricks and tools appeared to generate ideas.
And do you have any tips, how to draw poses and people from oobrazheniya? And everyone is asking – how do you as you spread them every day, different poses.
Standard issue with the standard answer: if you want to draw people poses – poses greater draw people.
Similarly, if you want to understand how to construct armor put on armor, walk in them, draw, disassemble, reassemble.
Why now I know how to draw armor: I helped a friend who has the armor I wore it.
I dabbled in historical reconstruction.
So I have some understanding of how a person interacts with the armor.
And how it affects the characters, respectively.
So my choice for characters armor often dictated by the nature of the character, not that cool would look.
No, it is more important that the character fits.
And if you want to draw a pose, first learn the basics.
Anatomy, weight influence.
where in the body it is located and so on.
When I want to do stadika on posture, that's what I do have somewhere to the year: looking for video dancers on YouTube.
I put on pause, do a 30-second sketch.
And so – play, pause, draw.
Play, pause, draw.
The difference between the second frame comes, so that a sequence of pictures.
And you begin to felt The stir well.
And then when the posture start to draw, you think about posture, not as a single point, like if you are Hogarth or someone else learn and perceive it all as a movement, and it turns out very smoothly.
And it gives a better understanding of the dynamics, because you have the whole movement is consistent, rather than a set of unrelated individual item.
Something like that.
And the same with animals.
Want to draw a flying bird – Do not look for a ton to look refs with birds in flight.
Because most likely find the shooting good photographers, those nature photographed.
They try to get the best and most spectacular shots.
But you do not learn it.
We must learn to base – the anatomy of the animal.
And then find a series of concrete actions More Photos.
For example, the bird falls.
And also learn a series of movements.
How it works in motion, not looks like a spectacular bird's posture.
You can buy or catch a bird.
Oh sure! And to torture her.
Oh, no, that's too much.
sorry Sorry! Yes, I know, it was cruel, I'm sorry.
So, last question about the Challenge, but it is necessary to ask it, because so many are asking: What did you learn during this Challenge, which was sama major effect on your work, your work? A.
I learn to think before you start painting.
Even before that, I tried so hard to do, but now even more.
Planning – is everything.
The failure in planning – is planning to fail.
That is, sit down and relax.
Although if heavily inspired, then calm down, maybe it is not necessary, but before putting any line, think about why this line will be needed.
Better to put the line on purpose than just.
And there's nothing wrong with failure.
Failure does not exist: the more crap do, the more you know, ka NOT to do.
When you learn patience, comes more confidence.
There is still the question of intersnyh subscribers: talent exists or there is only patience and work? I do not believe in talent.
Oh, thank you.
I believe there is no need, because the talent is no evidence on the ground there.
In general, let soften: Of course, there is talent, someone is born with good physical data, which will help in running, so this can be considered a talent.
And certainly some people are born with some such brain a device that helps them to better perceive some things and help you to become something definite.
But since we do not know exactly what is responsible for this, I would rather I approached from a scientific point of view.
And I would say that there is no talent.
Because it is all due to the fact, as we said, there is no magic in the drawing.
There is nothing that should appear in advance.
Some predefined set of skills, no.
Do you have everything you need.
There hand, have brains – can draw.
Even without brains can.
Actually, I wince when they say "Only patience and hard work.
" Not just work, it is necessary to wisely approach and think again.
A lot to think, not just a brush to work, is a masterpiece not work.
But it's not magic.
And improve the discipline is not using some kind.
Let us act in the framework of the phenomena that we can understand and discuss.
Thank you very much for this answer.
I also do not believe in talent.
Here we have some meme deliver.
There is a question about dwarfs (dwarfs).
People say that you have a lot of gnomes.
I heard whores (prostitutes), and I am – th.
! No no no no.
Not about them.
As we have today is dangerous! So.
I try, guys.
I try as best I can.
In general, people are asking why you're so fond of them, because you often draw them?.
Whoever said it, my advice: Show expert.
Because if you do not like gnomes with you that something is wrong! Gnomes awesome! When I was little, listened to fairy tales and myths, gnomes there mgogo present in our mythology.
And then, esliv have not noticed, I'm quite serious fantasy fan.
I watch as fantasy takes over some elements from myths and sagas have, anywhere on slightly, and fantasy invented such a thing – gnomes.
This phenomenon has been one of the first fantasy, that was the whole tradition, culture, and as real and tangible as my own.
And yet it was invented.
It was very exciting.
I like the dwarves in bind elements of Nordic and Gaelic culture, and little Sometimes Russian elements too.
I think they are a playground design culture, race.
And yet – it's little people with beards and axes, once this giant! How can they not love something ?! Generally, the person said that thanks to you, he began to draw dwarfs too.
So – fan.
It may be more correct to call them gnomes? No, in English – dwarfs.
In fact, not much of a difference.
In Scandinavia we have called gnomes Nissen, and this is one of the many folk ancestors of present standard gnomes.
This Blizzard in his canon made them different.
And like too different from Tolkien.
In general, there are some principles, which all agree, but I do not really like.
Halflings, for example, I am always amazed at the phenomenon of fantasy.
Because – the floor-what? Poluchelovek, and the floor was that? On the gnomes in any way, they do not particularly like.
In general, they are semi-humans.
It is strange, especially in Russian there is no difference.
But I like that as a whole is not strictly, there are no clear boundaries: You can nalazhal with canonical perception of gnomes, but still at the same time to give birth to something very interesting.
I think so.
Or make traditional, classic gnomes.
We now have a lot of work.
No, questions about work! Questions about the schedule, about the process.
How many hours a day do you draw? If you draw a long time on a project and ends with inspiration, what to do in this case? You draw or take a break? In general, the last first.
I used to have said about inspiration.
I do not tolerate any theater primadonskih inclinations.
I avoided this in his career.
If you do not feel inspired, I do not care.
I go drink coffee and remind yourself that it is not working for yourself now and for the client.
So if I do not want, a deadline is not going away, and I am a professional.
And I have a professional pride.
I want to be as good a master, I can do a decent job even without inspiration.
So I say to myself, that inspired me to finish and do not need.
And this inspiration for high art is not the first necessity.
And what else was it?.
In general, the question was about how you vozvraschaeschsya for drawing when he can not paint over.
Take a break? Or say that it is for the customer, and simply harvest to the very end, and then exhale with relief? This question is a bit of a problem common with many people, with the art blocks.
And I did not have artblokov since I learned how to make a distinction between personal and work on client work.
When I make the client work, I feed the already finished work.
And most of the work for the customer.
There I have to be a craftsman, I do not create something new, and just perfect in the old.
But I probably even harder to get yourself to do this one your project than the client work.
Because, with the exception of the first stage, when the concept and the idea to invent most of the work is very comfortable: sit down, render themselves uyutnenko many hours.
Or pick up the color.
In general, you sit down, brew some coffee and go.
You sit and dopilivat ideas.
But this here – seriously! Do not just think out ideas, that approach to the brief should, they still have to please myself.
That's the hardest part.
So the question is not whether I want to or do not want.
There are days when you do not want anything, only to come home early and go to bed.
Or a drink with your friends want.
I'm in such cases usually I remember the guy named Aleister Crowley.
He was a British philosopher, and many more who, it was called the worst man in the world.
But some ideas are good at it! One of them – about the difference between will and desire.
Will anyone want to be against the desire to do what you want.
One can only ask a question.
When you want to do something else, it is necessary to ask what purpose is served by the two classes, and what is more important than the goal.
If what you want – it's "desire", then make a wish.
But if you are more interested in following the will, the will choose.
I'm trying to understand why I do not feel the inspiration, why not want to paint.
Instead of just stupidly overcome it.
It may be that I'm tired of something, then I go for a jog.
Or try to solve a problem that concerns me, and then go back to the drawing.
Very rarely I do not want to paint.
If we are really bad, if very tired, you'll figure it out and get back to business.
Oh, how I long for! sorry! No, it's great! I listened attentively – such thoughts! That you said earlier, that modern industry digital graphics – this is the industry for artisans, not for art.
Oh, no, no, no, I did not mean it that way.
I've got a feeling.
Tell us more what you think about this? Industry is called at very depressed due.
I think to some extent, if you want to work in games and movies, can not be an artist of high art, but not because.
This allegedly has no place in the industry.
Place art there! But you should be able to find a balance between artistic quests and professionalism.
You will never convince people in their artistic finds, unless it proves that you can rely on.
The most artistic people in the industry of all the people I know have managed achieve a situation where they will listen.
That is, they are great artists, but they had to be, and some are no politics.
In art, in the end, everything comes down to ego.
And with the industry puffed up with pride crushes brutally.
We must be worthy, we must be humble.
Yes, look for the flame, keep the fire within themselves.
But burn everything optional.
If you understand what I'm saying.
This is a difficult question, because there is a universal experience, universal answer.
Some would say – "for God's sake, hold on to their uniqueness.
" And I would say that yes, this is something there.
It is necessary to hold on to it all.
But this idea can get the better of you.
Maybe your desire to kill you and make miserable, because you will be measured on each job battened high artistic level, to try to all its ideals.
I do not know what to add.
Just, says it all.
And at Alexis have a question.
Yes, ridiculous question from a listener: do you have secret techniques? What, what? Sekeretnye techniques or tricks? Magic, do you have magic? Unfortunately no.
The sooner realize that this does not exist, so much the better, I think.
While we are all looking for the magic brush.
I was lucky to have around people who have suffered such a question from me, and not sent until I did not think of the right answer.
I sincerely believe that any equipment and tassels – all this themselves find, by trial and error, and yes, I have a favorite brush, they are good, they themselves do not give me anything.
At Jason Juan, for example, there is a brush – here it is – it is convenient to draw suuuuper interesting online, but by itself it does not draw.
That is patience and hard work.
Oh, if only! It would have been a relief! But more than just work! Lots of luck.
But then again, luck itself does not come.
Luck – is when preparation and opportunity meet.
That is a little bit like an inspiration.
Luck also comes during operation.
In general, still have a chance.
There is curiosity.
In terms intrumentov that are worth keeping in the heart, so to speak.
It is important to keep alert curiosity.
Being open to the world, to learn new things.
For the concept of the artist, illustrator, creator of the worlds most important thing.
For the creator of stories.
I think this is a very important discipline.
Otherwise, simply become do what Miyazaki calls "artistic incest.
" You'll use the wrong solutions to their problems, not solve them yourself.
And become someone's copy, not someone interesting.
So do not take shortcuts.
If you see the easy way, I advise you to choose a complex, on it you will learn more.
The more you speak, the more I realize how much you read.
This is a compliment from me.
So, about the work.
We must ask, perhaps, but we do not, so that subscribers who suffer! No, ask, but the answer will be boring.
Simple round brush or something like that? You have said that there is no magic, what else? No, there is the flip side of the argument, and I think we should also mention: do not be a purist! Use any brush! Try.
I used to be so inspired that's the first argument, which has become a purist and only used a simple round brush for the entire row.
And this is possible.
I think the proof of that can serve as Daniel Chavez.
He can do anything round brush, and make great.
This is because he understands what he is trying to dobytsya, draw.
But I think we should try everything.
And if you like to use, if the brush will be useful – so use a full swing.
I do not know this guy is as good knowledge of English, he always asks them in English.
I do not know, but here again, even when you do a clean line, there is no feeling that it would be easier to work from a rough sketch? He says that he loves online, but the industry is games seem uncalled.
Is it worth it to better appeal to European comics? And by the way, do you love European comics? Phew.
What are the big questions.
I think laynart very useful.
I'm comfortable with it to think of the design.
I am comfortable that approach fix ideas, technically I do easily.
So it is very helpful to me laynart.
I find it difficult to dictate exactly how to use laynart.
Maybe if you use it to get a better result, then try, but if, for example, it interferes with coming up with a good design, you should somehow figure out how to link them together.
And in terms of valued-not appreciated – I can only speak for myself.
I've been very much appreciate the good laynart.
In terms of European comics, I honestly do not read much.
One can remember a great called The Last Man.
He made three French artists, I do not remember their names, but it's just like a full-fledged movie.
This is a terrific book.
As a child he loved Tintin.
Still I love.
But in terms of past achievements, I confess, I do not know.
So if there's advice – I'm listening! Okay.
After Stream will be a lot of messages from people on facebook.
They will try to find you on the streets.
You'll be a star.
Hiding from the paparazzi.
That's what I live for.
Oh, of course.
It's hard to be a star.
If you talk about comics and style, about a brush.
How to find your style and to make it easy for myself.
People ask about your style.
How did you find how you developed it? Here is one such question that I'm uncomfortable and difficult to answer, because I'm not sure that I had already found.
The way I paint, I feel pleasant and efficient.
I tried not to think of specifically some style.
What happened It is the result of studies, sketches, stadika.
And it's the only way I know to generating style.
Style – is constantly repeated visual language that you use to transfer the ideas from your head to paper.
And I think, therefore, the only way to develop a style – it is to learn.
And prikiyvat how visual language would you like to use when the image of everything.
I have always Blindside this question because as it were self-evident, but it takes some time.
And I would say: do not worry about it, all this garbage accumulated by itself.
As you look at your job is very subjective, and, let's say you do not see the style – most likely, you have it.
The reason I say this: I do not think I can explain to people what my style is.
So – I do not know.
Here is a short version of the answer – I do not know.
I'm on la stings! No, the answer too! With all happen! Still I have a question, what is your process, how many hours per day you draw as you organize your day.
Can you describe a normal day: get up, drink coffee, 10 minutes tupish and then paint all day, for example? Well.
I usually prihozhuv studio.
In the last couple of weeks, I come too late.
Are not you ashamed! But in general, I come into the studio in the area of 8-9, leaving somewhere in the 10.
That is, I'm usually here hours to 12 spend.
This, together with lunch and all affairs.
Most of this time I paint.
And chat with Jasper.
Well idelayu all that is needed for the current operation.
Well, in general, paint net about 8 hours a day.
Yeah, and then you come home and Challenge your drawing? No daily in these drawings includes 8 hours.
Usually drawing takes about 3 hours.
And then I come home and sleep a little.
Or chat with friends about something mysterious aspects of what some previous conversations, in general, discussions with friends than anything else.
In short, after moving to Copenhagen, I swallowed more or less work.
I feel that I am not very clear answer to the question.
But something like that.
Eksperementiruesh with the style, or the time it is not? That is, some are constantly looking for new tricks to improve the process.
You are doing so, or draw just the way you like, do not know? Experiments do in your spare time.
This year, especially not experimented with anything.
But there are some variations that I use as part of the daily drawings.
That I had somehow organically happens if something is missing, something I want to add something like – I introduce.
In this respect, I am the more than forty: to drag itself all brilliant.
If I like something, I'll take myself and leave.
A traditional patterns like? Have you seen instagrame in pencil and ink, but there is still something? Well, you knew what I've been watching you everywhere and pursue, yes? But there are many questions about the traditional materials.
Well, sometimes there is no time, or I travel, or even for some reason for Photoshop normally can not sit down.
Then I draw in sketchbooks.
I try to draw as often as possible.
The paper sketchbooks.
Here I just ekspirementirovat easier than Photoshop.
Photoshop – it.
his main achievement – it is a curse.
Because it might all, limit yourself to a digital drawing is difficult.
You fall into the trap of options.
When you can do so many things, it is very easy to do too much.
And physical limitations – it is a great way to experience the limits and possibilities of a particular material.
And, as if to say.
Some modern artists say that it is necessary to draw in tradishke, and in Photoshop, this is important.
And others say – but why should I do something on the paper when I was faster in Photoshop? What do you think about this? There are strict rules? No.
If someone tells you something they are required, you can send it to the three letters.
But I think that to paint in the traditional materials – it is worthwhile.
You know, there is an old English proverb, "it is necessary to try everything at least once.
In addition to incest and Scottish dances.
" And I really like this statement.
I think we should always avoid the thought that your approach is not ideal, and there is always something you can learn standing in any other way.
So I do not think it's a solid "should".
but I think you lose a lot if you do not try.
And yet there is such a moment – exactly where you are working.
And me, either in my experience, do not know why, it seems that crowded cafe – awesome place for the birth of ideas.
So it is possible and to achieve the same iPads.
But for me, there is a definite pattern: sketchbooks, a cup of coffee, open space.
That is an aspect of it.
For me there is no place more sacred.
So I would not say that it is necessary to be sure, but you can lose a lot if you do not try.
Next poll: Which sin is the biggest modern industry? The biggest what? Sin.
The biggest mistakes.
I got it.
I think the same as always: Art incest.
In many Hollywood films today is noticeable.
On Reddy was a great post recently.
We lay out a post about the new Call of Duty.
and compared with the old Halo.
And nekotoye moments – just as a blueprint.
The pixel to pixel.
This is not news, in general, all copy each other.
But here here, remembering the first part of our conversation, all as Picasso said.
In pritsnipe, especially in terms of the game – it is good artists.
They are not great, but good.
They can not somehow more creatively rework things out of Halo, but they can copy what they do.
the best artist or collective of artists, would be able to steal all that they are attracted to these designs.
And make them original.
So, it seems to me, it has always been.
The main focus – on the figures.
And there is no understanding of what creativity it is a value in itself, it is not just for profits.
But in general – is not under the sun is nothing new.
Sad, but true.
You said about video games.
Here people are interested in what you have loved.
Maybe in terms of art.
but not necessarily only from this point of view.
But for gamers.
Firstly, I am a gamer sucks.
But when I have time, even if the day is, and do not need anything – there is no deadline, the sketch is not necessary, and te te and te pe, my poison – a Total War.
There is something attractive in chertvoski opportunity again pochuvstvat themselves 12letnim.
Sorry, this is Warhammer? No, this is the new incarnation takes place in the Warhammer world.
I'm not a big fan of this new version here.
My favorite – still the old version, Rome II, with one particular mod.
then the whole thing is that I'm a geek on the part of the story, and I like it when everything is historically correct, and so on.
But something like that.
Too many hours I spent on this game.
I also a fan of Shadow of the Colossus.
There is another great old game, Psychonauts.
I am because of this game is the second bought Playstation! What's your favorite historical period? Oh.
How to choose.
They were so much! No, I can not choose.
So here is our friend the map again and we're going to look at cave art in several sites way down in Altamira, Spain, which is up here at the top of the boot and Lasko, France, in the middle of France and a few other places as well.
So just to review paleo – old, meso – middle, neo – new are prefixes.
They indicate a prehistoric time period that they represent.
So I also didn't talk to you in the last couple of lectures about the art historical dating.
It used to be that it was always say BC – Before Christ, and AD, which is latin for Anno Domini.
So if you become an art historical scholar and you look at primary sources that are dated back before the nineteen seventies or eighties or maybe even nineties, I'm not sure when this got changed, you'll see BC and AD year of our lord.
Now we say BCE – Before Common Era, and CE, which is Common Era and as it says here sometimes anthropologists use BP.
So if you're an anthropologist you're using that but art historians we use BCE and CE.
I ended the last lecture with a look at some low relief sculpture.
This is high relief sculpture and it's made out of unbaked clay.
This is a high relief sculpture that's made out of unbaked clay and is 25 feet long.
This whole thing is huge.
Think about how long 25 feet is.
And so basically what these artists did is there was clay in the bottom of the cave floor and they just dug it up and shaped it into these bison.
So we don't know much about the people that made these but they found footprints all around them so maybe there were ritual dances and look how they carved it.
Even the bottom of the main there's little in size lines.
So they're already trying to make it a little bit naturalistic.
I mean they're very life-like.
Just think about the fact that these have been in the bottom of this cave for 15,000 years.
Here's our low relief sculpture again.
And so, I thought I would start with those two sculptures to kind of transition into this talk about painting.
And again, remember, this world is dominated by animals.
We think they painted them on the cave walls as a form of magic.
Maybe they could control the animals by painting them on the wall.
Maybe they could ensure successful hunts.
Maybe they'll be used for teaching.
Maybe they make sure that they were healthy herds.
Perhaps there were even things about husbanding the herd, making sure that you don't kill too many of the female animals, for example.
Make sure that the herd is healthy so every year when you come back to hunt there'll be plenty of animals for everybody.
The 19th century and if you've taken a humanities course or you maybe take literature or English or theater yet we know that in the 19th century there was a great love of beauty and there were also lots and lots of different ideas about what art was.
And so, humans as is their want will put their own interpretation on why artwork is making, in particular painting.
So in the early, in the 19th century, they thought perhaps this was a love of beauty that people just wanted to paint.
It's interesting to read old artist historical books and see different things they say about prehistoric art.
In the early 20th century a lot of historians thought maybe they were fertility rituals or sympathetic magic and in the nineteen-twenties became religious expression.
Then, in the later twentieth-century this is when begin, we begin saying, "let's interpret this".
So in the late 20th century and this is the the study of art history that I ascribe to is I like to call myself a social art historian.
That is to say, that I believe that art is the product of its culture and that to exist inextricably and that we learn a great deal about the cultures that created the art but also we can think about the fact that art is affecting the culture as well.
So just to look at what some of these theories where I put some of them up on these slides so you'd understand and it's fun to look this stuff up, it's fun to look up for instance this idea of sympathetic magic.
There's this idea that things that look the same have actual physical influence on each other and the things that are in contact can act on each other from great distances and one thing that I think is pretty interesting about this is if you look at modern day theories of quantum physics or chaos theory isn't it interesting if you take that a whole adage "the wing of a butterfly that flutters" in Japan causes a tornado with the other end of the world.
Could there be something to this sympathetic magic? Sometimes the animals depicted weren't food animals.
So this slide just gives you a list of the cave painting sites.
Chauvet has the oldest footprints anybody's ever seen and they're dated to 24,000 BCE.
And the paintings if you can go online and look up Chauvet Cave and again I don't have access to that many images for these power points, plus it's a lot of material to get through but it's really worth looking up Chauvet Cave because look how life-like these are, they're moving, you can just imagine these bison running this herd and the drawings are so life-like.
These drawings and Chauvet do have a lot of human figures in them.
And there's so many different kinds of animals here.
Maybe you'll even find some that I didn't list there.
Look at the two bison that are fighting at the bottom.
Cosques Cave was discovered by a diver.
Can you imagine being that diver that was swimming around and found this little cave opening and he swam in that little shaft and then came up and found this cave with all these paintings and 25,000 year old hand prints.
Just imagine what that would have been like.
Maybe this was colored but these images are so life-like.
We know this is a stallion, we can, it completely says horse.
You see the main little bit of shading, undercutting under his face and really the only way that you can see this cave now is to go online, which I encourage you to do.
So what did they use for painting? They blew out of a little tube and maybe they put their hand up there to make hand prints, they also maybe had sticks that they painted with.
They could have made brushes out of all different kinds of materials, maybe animal hair or vegetable matter, we know today our finest brushes are made from kolinsky sable and they had a multitude of animals to make different kinds of brushes out so they had all sorts of resources at their fingertips and these are their natural materials you can find these today you could make your own cave painting on the, on the, on a rock using different kinds of ocher and if you heat ocher up you can get all these different shades of color out of ochre.
If you're a painter it's fun to play with this stuff.
We have evidence that they did things like – they made sponges out of maybe some type of plant material just by the kinds of marks that are made, they made their own crayons.
They found 19 crayons at Lascaux.
If you go to there's some museum there, I think, you can go and see these 20,000 year-old crayons.
So here's a little drawing.
This drawing is in your book too.
We'll revisit Pech-Merle again.
We think they probably ate their horses and I just put Pech-Merle here because I wanted you to see the hands.
So if you look right above this spotted horse up here that little hand print, the hand on the slide earlier, this is a was a detail of this painting.
Pech-Merle is actually best known for its painting of horses and they threw rocks at these paintings that were covered with ocher.
Some people say the circles are decorations, others that maybe they're marks left by weapons, perhaps they would have a ritual where every time someone killed a horse they came to put a spot on this one.
Again we do know that they had some type of ritual where they colored rocks with red ocher and threw them at these paintings.
You can see the little red marks there.
Altamira was discovered in the second half of the 19th century and the paintings in this cave are 12,000 years old and again, mostly bison but naturalistically painted portraying movement.
So we've got large gaps of years between the dates of these caves, don't forget that.
The thing that's interesting and different about Altamira is that there were bumps in the roof of the cave and that the artists created the figures by taking saying "oh, these bumps are the shape of a bison" so they turn the bumps into bison.
And so here it doesn't even look as if it's standing on the ground it's almost of it as if it's falling.
One interpretation of this is it has to do with a hunting method where you would herd off bison off a cliff.
You can see a person underneath this one gives you a sense of the scale on the right you see the little man underneath the roof of the cave.
This was actually one of the very first caves with paintings to be discovered and because they look as though they're floating that's why they believe it might have had to do with the cliff drive coupled with the knowledge that native North Americans actually practiced this.
So even 10,000 years earlier and we already looked at Chauvet but we can see the movement here.
So we've got a long tradition of this kind of painting.
There's a 10,000 years spread and you think about the action and again this was 10,000 years earlier from Chauvet but we have this idea of profile.
They can say so much with just a few simple lines.
Lascaux is one of the best-known caves and it's very large, this is a diagram as if you chop the top of the mountain off and you saw all the different chambers inside Lascaux.
Again, I said this earlier, most people agree people didn't live inside these caves.
They would live at the mouth of the cave where they could be sheltered but inside the cave it's dark, it's damp, it's narrow and so it's most likely that these insides were used for ceremonies but also I love to think about this because we, again, we have a nomadic culture so they perhaps they would come and gather these different places once or twice a year, they, lots of clans would come and gather together even if they had different rituals and things like that but also perhaps they were recording stories, perhaps they were recording messages, perhaps it was a prehistoric version of a Facebook wall if you will.
This is the Hall of the Bulls inside the Lascaux cave and they would have had to have scaffolding, they would have, it's so high up this is a really large chamber is too high for somebody to just reach up and paint.
They would have had to build something to stand on to make all these paintings.
So it meant that they have to plan ahead, they'd have to have enough light in there to see what they were doing and speaking of light this is another thing to think about because we see these images very clearly and that's because when somebody documented this get ready to write the book they took really good cameras like the ones that are shining on me right now in this video and they lit everything up really bright so you could see it really really well but the prehistoric people that were in conducting their rituals or making these paintings would not have had bright electric halogen lights they would have had little lamps like that ibex lamp that we looked at or perhaps torches but it would have been very flickering, very mysterious, very dark so as the light flickered across these bulls on this ceiling it would have added to this feeling of movement because they would have been going in and out of light and shadow and we see all different kinds of sizes here but if you be really really quiet and you sit and you think about this and try to just use your imagination, can you hear the sound of that herd? And another thing, so here's this narrow passageway and they've also found traces of hallucinogens and some of these sites so you can try to use your imagination going through this narrow passageway out into that big chamber as part of this ritual and so your experience is heightened by the torchlight, by you know whatever substance you might have ingested.
This is an engraving of a foreshortened view of a horse and on the right there's a drawing to really show you what it looks like it's a view that's really really hard to draw if you've ever taken a drawing class you know what I'm talking about but look how well this artist understood this foreshortening.
It's, you know, you can take yourself right up to Masaccio here.
The black-and-white diagram on the right is just highlighting the engraved legs there.
The shading and the movement.
So also, we think that these images tell stories and there's several different interpretations of this – your book has one, there's other interpretations online and so I'm not going to go into telling all these stories.
You can see some of them on the slide, something you read and I encourage you to look up and see all the different stories for this but let's just look at it.
Here we have this bird headed man remember our lion human and you know we definitely know he's a man, we can see the phallus there and the bull now has the bulges gored him or is about to kill the bowl is this a spear thrower or is this some other kind of bird what is this animal we're here.
The Bison has been disemboweled, it will soon die but did it kill the man first, is the man even dead, perhaps this line of dots at the bottom shows a good hunting location, are they a way of counting? Again, going back to the idea – are these paintings are something that people would return to again and again? So were they added to over time.
Most likely they were.
Graffiti, if you will.
So we could have shamanism, we could have simply a story of an event as the stag in the slide before.
This image is all the way at the end of a very narrow shaft ,like that when I showed you in a picture a little bit ago.
And actually many of these images are that way.
So are they perhaps different stops on a ceremonial journey.
So many many of the images at Lascaux are telling stories and we can use our imagination to imagine what those are.
what's going on Liam'Zed the designerand in this video we're going to talk about life after design and art school.
So you're a graphic design graduate nowyou're into the big wide world and it's a little daunting your little nervousyou don't know what to do and where to go.
So in this video I'm going to giveyou some tips and tricks that helped me when from design student to designprofessional and just get me better prepared for the professional world andlife as we know it so check it out videos i tend to talkabout some of the techniques and skills I've learned in my professional careerto help get me to where I am today as a successful freelance graphic designerand I also go over some tips and skills to prepare you for some of the toughestquestions in the design world that you face as a newbie young student or evenveteran graphic designer and one of the toughest things is preparing yourselffor the next stage of life after design art school or college.
It's difficultit can be scary there's what's known as the postgraduate funk which is like kindof this depression froggy mood and you're just kind of at home eating icecream watching that flicks with no real clue to go and in this video I'm gonnahelp you get out of that I'm gonna help you get into the next stage of yourcareer this big bold and exciting career so one of the things i learned out ofDesign School was I'd be looking for jobs online and they would have a listjust a mile-long list expectations and people that they wanted from theircandidate and i thought i had to fulfill all of them i thought i needed to do allthis stuff i need to know all the HTML and that's not the case that's what's called the ideal candidate ok that's what they're looking for itdoesn't mean that's what they're going to get it just means that's what theywould look for in an ideal world ok so don't don't overwhelm yourself ifyou don't know every line of HTML or every in and out of motion graphics youcan learn you can learn on the job will train you on the job and you can in your own time so don't stress overthat ok and still apply still apply for those are the jobs that are coming upwhen you're searching for jobs still apply.
ok don't worry don't stress okay theother big delima is am I a freelancer or am I going to work in a nine-to-fiveor studio environment.
That also comes in time.
Some of the best ways that you cangrow as a designer's it is in a studio.
learning the business learning the insand outs seeing what clients want, seeing what an art director does.
Working asa part of a team.
But that isn't necessarily to say that you shouldn't bea freelancer either because maybe that's what you want.
maybe you do want to have that wholeexcitement of not knowing where your your next job is coming from andbuilding out a successful business in that case you might need more school tolearn design management skills are you you might need to learn some businessskills from online tutorials and you might be watching people like me who'vebeen in the industry for a while who have some tips and tricks to show youthe the reality is it's it's a big wide world out there so don't be scared you're fine i like everybody else out ofdesign and art school so don't feel overwhelmed ok the next thing is foundthat when you're in design school you have this notion of how the industry isyou have this perceived idea of this is how the design world works and I'm readyfor it and then you get in there maybe you did a co-op for an internship and ifthey hired you great if they didn't hire you then you know you're you're you'relooking for a job and you started to see okay maybe this idea of how the designworld works isn't what I thought it was maybe it isn't maybe it isn't this way maybe it's adifferent way or or maybe it's more than what I thought it was so your perceptionstarts changing and that's also really normal because that just means you'regrowing you're growing as a designer and you're growing as an artist and you'regrowing as a young professional and that's ok that's all fine that's allnormal there's nothing wrong with you ok so the other thing is that you startto see and realize is that when you're a designer and if you'refreelance designer you have a lot of people asking for free work or devaluingyour skills and your starting to get desperate because you want money so youstart taking those jobs and don't take those jobs don't take those jobs betterjobs are going to come better clients are going to come just be patient andbecome because when you start taking those rush to the bottom jobs you'redevaluing yourself you're devaluing their skills and you start losingconfidence in your job and who you are as a professional you think okay I justgot to keep undercharging because that's the only way I'm gonna make money or ifi charge people what I'm actually worth no one's gonna want to buy my skills orno one's going to want to hire me don't think that way never think thatway because there's always a market for the skills you're offering check outsome of my other videos where I go over pricing strategy getting a stablepaycheck as a freelance designer and charging for your skills and findingclients and that will help put some of those fears to rest but you're fine okaythis is the key of this video find your exactly where every other student out ofart school in design school is and that's what's most important ok and this is just a one giant learningcurve you're on in order to build your professional career ok the other thing is why don't you tryand find people who are in your industry to discover what it is your passion thegraphic design is a big broad industry there's there's a lot of differentaspects too graphic design and brand managing and stuff like that so if youknow someone or a professor or a friend who were who's been in the field alittle bit longer than your pick their brain a little bit about some of thepitfalls that they've discovered some of the challenges some of the successes butthey love what they hate so that you can get a better understanding of where itis you're going in your own professional career now that you've graduated schoolyou know it's perfectly common in graphic designers and design studentsthat once you've finished your school and your in your academic career to feellost in a bit out at sea I mean that's the same for anybody who's it goingunder a major change in their life be a professional personal so you're notreally in a box here you're not really alone inthis it's very common but you need to learn the skills to get yourself out ofthat box and into the professional world and that that comes with time that comeswith time trust me and learning but the other thing comes with learning maybeyou do need to go back to school maybe you want to specialize in something thatyour course didn't cover that's fine that's ok maybe take a design managementcourse I myself study visual effects after college and university III had areally weird academic journey ended up going to business school for a while Istudied advertising and marketing accounts management media sales I hatedit i went back to school again I study design and so I had kind of the skillsin order to manage my own career effectively in that way but I was stilllost i was still out at sea I still don't know what i want to do so i wentto more school which is kind of the cycle you get into for a little bit andthen eventually I was able to build my client base and that will come with youto it comes in time but you need to keep learning and keep progressing you gottakeep putting yourself out there on a date today level because nothing's goingto come from sitting at home binge-watching whatever on netflix andeating junk food you need to get out there and that takes time so maybe justdo artwork every day in order to keep that creative muscles moving andeventually you'll find a job or eventually you'll start landing andclient and eventually you'll start getting paid what you're worth ok but it takes time and that's allcommon out of college night school like I've been saying throughout the sort ofcalled college or school you have career centers at your school you have alumninetwork give all this stuff but what's important is that you keep going keepbuilding momentum in yourself and that takes time I myself watch a motivationalvideo everyday and before I start making cold calls and connecting with olderclients and going to meet new clients because that's that's that's what's keythat's what's important to keep getting the information you need stay calm stay motivated keep goingyou're on the right path the worst thing you can do is stay stuckin the funk because then you won't go anywhere youneed to pull yourself out of that and pull yourself out of that is realdifficult but you can do it because we've all been there we've all beendesigned students we've all been art students maybe you need to take apart-time job for a little while at a cafe or you know doing something youmight not necessarily be 100-percent passionate about you know but you justuse that to pay the bills you still look for jobs is still lookfor freelance opportunities until you get to a point of stability and then youcan leave that part time job and jump into your new career it's ok it's a building block life is ajourney and all that fun stuff so just be patient with yourself be gentle withyourself push yourself and kind of just step bystep day by day set some goals set some creative accomplishment set someprojects for yourself so that you can keep the momentum of college life andthe structure it provided you going and eventually you'll get your careereventually you'll get your client and eventually you'll find your place in theprofessional world I'm leaves at the designer check outsome of my other videos if you have questions or comments leave them belowas always if you do have a question and enough people are interested in it iwill obviously do a video.
I'm here to help you guys thanks.
(classical music) – Humanity has producedsignificant and signifying objects that mean something to culture.
Art has always beenimportant to society as a method of communication andas a method of talking about complex ideas.
– This program isn't say,for example, a program where they break things up intoparticular mediums like painting, sculpture, photography, that it's interdisciplinary.
If you're interested inexperimenting and trying mediums that are outside of your practice, I think it's a wonderful place.
– [Diana] The idea in graduateart is that we combine method and materials with concept and content.
We're interested incorporatingthought about other fields into art and we'reinterested in artists who want to do that.
– As soon as you get herethey assign you a studio and you get the choicedepending on what kind of work you want to do.
It's really nice to have sucha big space that's your own.
– I guess one key thingwe get at our center is that people have to write a thesis, people have to do a thesis exhibition.
You get an ability to discuss your work, describe your work inrelation to current ideas from philosophy and critical theory.
– Artists need communityin order to remain part of a dialogue about contemporaryart and they need to find out if they're communicatingtheir ideas successfully.
Every student is required totake a Crit class every term.
– It's the only class whereall the students participate in the critique so it givesthem a voice that they can critique their fellow mates.
– We get a lot of attentionnow, you can't really hide out.
I guess you could ifyou wanted to but why, why would you in this environment? – When you want to showyour work at the galleries people talk instead ofyou, so here when you have the to talk with them thenyou can reach this point in which where you canexplain your work which makes it more maybe visceral.
– [Shingo] You get tolisten to what a group of people encountering yourwork without knowing anything about it might think, which is invaluable.
– We have had a Tuesdaynight visiting artist lecture series, an artistwho comes in for a lecture will also do a day of studiovisits so the students have the opportunity notonly to hear about that artist's work but totalk to them one on one.
– [Lita] The student's get alot of input from curators, museum directors, critics, writers, the expansion of knowledgeand information that you get I mean you just don't have that anywhere.
– It's very good to allowthe faculty and your peers of course, to influence youand understand that this is a collective effort toremind you that everybody's here to push you and to challenge you.
– [Shingo] I've seen my workexpand in various directions and my desire to experiment,my desire to work in different mediums have been met.
You are investing a lotin being in this program, you're investing in yourselfand that's really important.
– We expect them to have acuriosity and a work ethic that inspires them.
We want them to see whatit means to be a real engaged artist, an artistengaged with the world, with the contemporary art world.
– [Lita] It's great to be inthis community of thinking, you understand the differentthoughts that have come and you also try andsurpass what has been done.
You become part of thisriver of creative thought about the visual language.