Illustration Isolation: Episode 24, Bryan Rodner Carr part III

All photography used for this episode is copyright Bryan Rodner Carr.

Bryan Rodner Carr is an American photographer and film editor currently based in Los Angeles, CA. His clients include major brands such as, Beats by Dre, Complex, Adidas, SSENSE, Reigning Champ, Goop, PAPER Magazine, FRAME, Richer Poorer, Paco Rabanne Parfums, Ipsy, Stella Artois, 7 For All Mankind, MATE the Label, Harper’s Bazaar, KkCo, LCD, Playboy Magazine, Spotify, Rolla’s Jeans, BB Dakota, REVOLVE , Wolf|Kasteler, Margaux Lonnberg, Luv AJ, Aprés Jewelry, Stellaire Collection, Forever 21, Refinery 29, Girl Skateboards, Contributor Magazine, NFL, Yahoo!, Factice Magazine, JADE Swim, For Love and Lemons, Nasty Gal, Kodak, Galore Magazine

Draw alongside these professional artists, ask questions, join the conversation, and most importantly — Share your work with us on social! Tag us on Facebook, Instagram, or Twitter and let us see what you’re up to, what you’re drawing, and how you tackled a few of these reference photos.

WANT TO KEEP DRAWING?

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TRANSCRIPT:

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John English: Alright. Hey, everybody.

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John English: Welcome to Thursday night drawing

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John English: And

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Tim Trabon: All the panelists.

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John English: Can I borrow some people from the audience.

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Tim Trabon: Yeah, this is a anybody played bass.

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Tim Trabon: drummer.

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John English: We’ve gotten bill come got delayed. He’s coming in my tablet just got here. And so my toddler, you get to draw first. How about that.

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John English: Are you okay with that Montalvo you set up.

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Tim Trabon: We just can’t hear you.

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John English: I think you setting stuff up.

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Tim Trabon: Well, while he sets things up.

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John English: I can talk

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Tim Trabon: Later, yeah. Thanks for joining us. Everybody tonight. If this is your first time drawing. This is where you get to draw alongside some amazing artists. You can watch us draw and encourage you to draw as well. And please post and share your work because we check it out throughout the night.

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Tim Trabon: I’m going to share a link. As soon as john starts getting talking in the chat and that link sends you to the photos that will be derived tonight. We already got one.

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Tim Trabon: We’ve already got one photo up

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Tim Trabon: And yeah, that’s how it works. When you use the chat, please be sure your

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Tim Trabon: Sometimes it defaults to all panelists. Make sure you’re sending it to all panelists and attendees.

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Tim Trabon: That’s it. JOHN

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John English: Okay, I’m just looking I’m wanting to see

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John English: What bill Kolb

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Hello.

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John English: How are you, man. You

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Know,

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John English: I everybody. Hey, I’m gonna, I’m going to talk for a minute why our artists are getting their cameras set up and all that fun stuff. So as always, this is brought to you by visual arts passage 25th episode.

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John English: Illustration isolation or fourth

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John English: Fourth,

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Tim Trabon: 24 months.

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John English: Okay, I was close. I’m 25 something we have to celebrate it Sarkar Silver Anniversary.

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John English: Who thought we would ever do anything consistently 25 weeks at the same time.

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Tim Trabon: There’s other than the illustration Academy

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John English: That’s right, 20 we’ve managed to pull the illustration Academy off 25 years in a row.

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John English: So, alright, so

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John English: Our next semester visual arts passage, it starts on October 10 we have an illustration program and we have a concept design or concept art program, I, I like to say that our concept art program really focuses on developing people that design. It’s about design first

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John English: Tonight Our we’re in our illustration isolation drawing room. I’m going to click to my favorite page here.

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John English: And go through. I love to go through the participants of people that have been helping us

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John English: Start with George Pratt at the top, Audrey Benjamin sin.

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John English: Gil Ashby myself john foster Brent watkinson Hector Casanova bill co op Don Kilpatrick Ashley love it.

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John English: Down to the bottom row is Vanessa Del Rey.

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John English: Dale Stefanos and re bunny.

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John English: The next my next slide, um,

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John English: I didn’t want to redo that slide. So I added our most recent draw or most recent recent guests. I’m trying to get his attention because he’s working on his camera.

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John English: My taco.

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John English: There’s one part one night when I’m on top of his drawings that I love that he did

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John English: Last week, so my Tabu as well represented tonight. I don’t think he can hear me, but that’s okay.

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John English: Also Chris pain and my joke was before that I didn’t want to redo the page and Chris Payne didn’t fit on that page. So he got a page. This is also

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John English: A portrait that Chris did of the way brothers, the way brothers have been very helpful to us and I think them the art house in the way brothers for helping us

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John English: With our own photography, allowing us to use their photography and now allowing us to use Brian car they in the introduction to them.

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John English: So thank you very much the way brothers and thank you Brian for the beautiful photography that will be drawing again tonight, Timmy. You got something to say about that.

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Yeah.

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Tim Trabon: Be sure to tag Brian Dr car. Be sure to tag art house.

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Tim Trabon: I’m going to share all the information. But most importantly, be sure to tag hashtag illustration isolation. I know it’s a lot of stuff to tag.

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Tim Trabon: But it really is. It makes it what so much special at the end of the night because we get to check it all out. I think it’s really, really a fun part of this. So we love seeing your work. It’s why we keep coming back.

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Tim Trabon: AND JOHN I know you mentioned, you know, the fall semester starts October 10

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Tim Trabon: One of the things I want to tell everybody here because I know how how how much all of you clearly appreciate free stuff.

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Tim Trabon: We’re doing free portfolio reviews right now you can book them. This week we were going to allow people in this is a one on one portfolio review, you get to meet with john so it’s like illustration isolation but alone.

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John English: There’s

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John English: This

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Tim Trabon: Really awesome opportunity we get

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Tim Trabon: emails every day if people saying how much they love it.

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Tim Trabon: And I can’t recommend it highly enough on top of the fact that it is free. It’s totally free. We don’t ask you to sign up for something or do anything. It’s just totally free. It’s

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Tim Trabon: Really awesome and and honestly, if you’re considering a course, it is the fastest way to test drive this

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John English: It’s also I mean in that portfolio review. I really like to focus on what you’re doing right what you’re doing wrong and most importantly what your path is going to be. We talked a lot about direction, Timmy just I got a text just now from Bill copious having

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Tim Trabon: I don’t know if he’s having came out of it. You know, we’ve allowed allowed everybody to go over laksa days ago. Super kind of shooting today.

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John English: Everybody kind of came in at the last minute.

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Tim Trabon: I apologize, they know that if they come in first they have to draw first

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Yeah.

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Tim Trabon: Yeah.

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John English: On top of your mic is muted.

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Tim Trabon: My mic is muted Montalvo

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Tim Trabon: I’m

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Tim Trabon: On

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Tim Trabon: Mute here we got

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Tim Trabon: Mon tava. We can hear you.

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Montalvo Machado: All right, all right.

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Montalvo Machado: Billy.

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Montalvo Machado: Up here.

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Tim Trabon: All right we Montalvo starting cuz we can see your we can see your what you’re going to be painting and we can hear us.

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John English: Do we have on top of camera.

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Tim Trabon: Yeah.

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John English: Or is that fills.

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Tim Trabon: JOHN. JOHN

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John English: Okay, I totally got

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Tim Trabon: A ship.

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John English: Okay.

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Montalvo Machado: I know you my ceiling.

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Tim Trabon: Yeah. Yeah, looks good.

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John English: All right.

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John English: There you go. Alright.

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John English: So my taco.

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John English: Unfortunately, we chose a piece of photography for you. And that’s what you’re drawing

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Montalvo Machado: Oh, which one is going to be

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Tim Trabon: In the chat. My talk will be so

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Montalvo Machado: Well, I have the I have received the email with the photographs

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Montalvo Machado: Okay. The, the girl, the black girl with the green background.

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And

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Montalvo Machado: That’s not so

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Montalvo Machado: There was a black hat.

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Tim Trabon: All right guys here Montalvo everybody Montalvo is gonna get

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John English: It. Sorry.

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John English: Okay, my tava we’re just going to post it because we had no choice.

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John English: Sorry to do that to you and Montalvo George practice came into the room. I know you want to say hi.

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Hi George

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John English: Old friends.

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George Pratt: Hey man down. All right, I’m out of here.

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Montalvo Machado: Hey,

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George Pratt: I’m actually going to log in.

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George Pratt: Again, with my iPad.

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John English: Okay. Okay, so here we go. We’re going. I am going to stop share my screen is up.

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John English: My taco. Can you see the reference you’re drawing

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Montalvo Machado: Yeah, I got the reference here I got from from your email and on Tuesday between the less girl with a black hat or the other girl with a green background.

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Tim Trabon: Montalvo you an email and

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Tim Trabon: You’re just going to have to wait till you get that email and just follow that link if you can

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Montalvo Machado: Okay, no problem.

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Tim Trabon: Yeah.

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John English: Because we’re basically my top of grass needed to use a different piece of reference.

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Montalvo Machado: Right.

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Tim Trabon: Now, some way

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Tim Trabon: for artists to think, Oh, man.

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Montalvo Machado: I was setting things up here and

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I know

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Tim Trabon: We’re just giving you trouble man.

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Montalvo Machado: Okay, no problem. Absolutely. It’s gonna be fun. Is this the guy with

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Montalvo Machado: laying on the floor near here.

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Montalvo Machado: Yes, yeah.

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Yeah.

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Montalvo Machado: Okay.

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Montalvo Machado: So let’s go

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Montalvo Machado: Let’s see if I got some zoom here.

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Tim Trabon: And if you’re if anybody’s wondering, we’re going to be posting the images throughout the night. So this is our first damage because I’ve learned that if I post more than one time are painless tend to draw whatever

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Tim Trabon: So,

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Montalvo Machado: So this

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Tim Trabon: Will come up, surely.

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George Pratt: Yeah, I brought my own reference to

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John English: Thanks for being so helpful George

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Bill Koeb: My home. Oh, I like your camera setup there.

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Montalvo Machado: Oh yeah, it’s just it’s supposed to be a microphone stand, but I adapted it for a camera.

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Or

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Montalvo Machado: It’s light and easy to set up here.

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Montalvo Machado: What do you run with Montalvo

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Montalvo Machado: Can I go

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John English: Yeah, you’re ready.

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Tim Trabon: Here we go.

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Tim Trabon: Everybody this first post is going to be 20 minutes it will be young black man.

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Tim Trabon: He’s kind of laying down next to the bed if you follow the link that I just sent, you’ll see the photo.

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And

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Tim Trabon: We want to

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Montalvo Machado: Try to stick to the 20 minute frame tonight.

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John English: Take what you need. We’re just getting warmed up.

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Tim Trabon: Right, yeah. This is just like being at Woodstock like listening to them to their guitars.

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John English: You can see the ugly underbelly

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Tim Trabon: Yeah, this is the guitar tuning.

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George Pratt: Hey, don’t sugarcoat it there, you know,

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John English: What are you drawing with

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Montalvo Machado: I’m using pesto pencils that I got this little extender here because it’s just a tiny, tiny bit of it.

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John English: So,

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Montalvo Machado: I like to draw with, you know, this kind of pastels, not the black ones because they marks. They make her to definitive, you know, and sometimes I gotta just move things around. And I think this kind of drawing with orange pastels makes it easier for me.

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Montalvo Machado: Because if I had if I have to change something or change my mind about some lines or some volumes and stuff. I don’t even need to to use a rubber. I’ll just go over this and do something like this, you know, draw again.

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George Pratt: Timmy I showed incredible restraint right then.

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Tim Trabon: Oh, I don’t even want to know.

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Tim Trabon: I went over my head.

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Tim Trabon: Don’t, don’t worry.

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Tim Trabon: Yeah, I was not listening.

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George Pratt: Is this young, young black gentleman with the earrings and stuff where the guy. Oh, I see. It’s the guy. Okay, nevermind. Got it.

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Tim Trabon: Should be only photo visible on that page.

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George Pratt: I’m using my phone.

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John English: The other thing is the funny part about that is you can’t tell from my Davos drawing

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Tim Trabon: Yeah.

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George Pratt: Well, I didn’t want to say it.

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George Pratt: Is raising you

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Bill Koeb: George

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Bill Koeb: Yes, your time will come

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George Pratt: On I know, believe me.

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George Pratt: I just

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Tim Trabon: I just have you toggle permanently George

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And I should

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Tim Trabon: Just remove

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George Pratt: It so it’s so nice to be loved.

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John English: So George. Tell us who you invited today.

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John English: You were just telling me on the way out that when you’re driving over here that you invited students

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George Pratt: I did, I did a presentation this morning from one of my students from when I taught at Pratt and he’s in Lawrence, Kansas.

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George Pratt: Oh my god at the Lawrence whatever school system, whatever, and

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George Pratt: He had me doing a thing on

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George Pratt: Line. Wait.

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George Pratt: And I brought up this the drawing sessions and stuff and said they all should show up and come in and draw with us, you know, and I did it. Also, with my class today, pushing it.

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John English: Well, we’ll see how influential you are

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Tim Trabon: George, I think it’s really interesting that you can still blame community for getting to a digital

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George Pratt: Not i’m not blaming community I’m blaming tiredness.

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Tim Trabon: I know

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George Pratt: I just got out of class.

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Tim Trabon: It’s it’s exhausting. Right.

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George Pratt: Yeah, especially when you’re doing it all day with a mask on.

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Tim Trabon: Oh man, I can’t imagine

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Montalvo Machado: Oh,

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No fun

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Tim Trabon: Is your, is your situation hybrid George, or is it all in person.

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George Pratt: It’s all a physical yes this class today. It’s a painting class.

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Tim Trabon: They’re making wear a mask in the meeting the zoom meetings.

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George Pratt: Well, it’s like

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George Pratt: Yeah, the painting classes are the only classes, actually, that are that are in the flesh, you know, and we were trying to fix it so that

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George Pratt: You know, we wouldn’t have been in the actual class with the students. But everything like we figured it out to we had our own space there everything and and

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George Pratt: But unfortunately, like it totally screwed up everything we did. And it’s just been it’s been a nightmare. So finally, I was like, You know what, I’m just going to go in here. Teach I really didn’t want to be in there with the students, but

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George Pratt: Yeah, it’s

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Tim Trabon: Kind of get us on some hit squad now from the school.

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George Pratt: I want I want your it to me.

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George Pratt: Working

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Tim Trabon: Towards I think you’d get pretty much with me. I’m like, that was the James Bond character where he’s like, move

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Tim Trabon: You remember that skit. He was that she IT guy.

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George Pratt: On what what show was it

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Tim Trabon: It was SNL he was just like the IT guy that was just

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Tim Trabon: Like a know it all. And just unpleasant.

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George Pratt: Oh, I haven’t watched watch

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George Pratt: That and forever.

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Tim Trabon: Yeah, he’d go move over.

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Tim Trabon: It was just, yeah, it was a it’s pretty good skit because it was so true.

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George Pratt: Move over.

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Tim Trabon: Steve, the IT guy.

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George Pratt: I remember the the copy room thing you know where they were all

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Tim Trabon: Raj now.

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George Pratt: Yeah.

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Tim Trabon: Now this is this is after that.

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Tim Trabon: Okay, this is the Jimmy Fallon era.

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George Pratt: Yes, yeah. I never watched that.

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Tim Trabon: That was, that was my favorite.

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Tim Trabon: Favorite chapter

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Tim Trabon: That I saw alive, I guess.

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George Pratt: I

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Tim Trabon: Like that, then I was like, watching like I would stay up on Saturdays to

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George Pratt: Okay, yeah.

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Tim Trabon: But I call. So I grew up with the older stuff too.

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George Pratt: Right Chevy Chase stuff. Yeah, I remember the very first episode.

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George Pratt: George Carlin. Yeah.

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George Pratt: Yeah, man. Do I miss that guy.

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Montalvo Machado: Yeah.

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George Pratt: He would have had a field day with all this stuff going on.

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Montalvo Machado: Lots of stuff.

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Montalvo Machado: For him to

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Montalvo Machado: Just mother him and then Christopher Hitchens

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George Pratt: Oh yeah, right.

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Montalvo Machado: They would, you know, I would just love to hear what what would be their ideas on our situation now.

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Yeah.

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George Pratt: Yeah.

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Tim Trabon: I bought a book. My dad gave me that is called the quotable Hitchens

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Tim Trabon: Yeah, it’s just like

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Tim Trabon: It’s just like 200 pages of

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Tim Trabon: Folks quotes

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Tim Trabon: And while they’re not you like the guy. It’s really amazing that he could fill 200 pages with with quotes that weren’t just didn’t become mundane. I mean,

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Montalvo Machado: If I didn’t know Christopher Hitchens, you know, his stuff I’ll be surprised, but knowing the guy, he’s able to do some real cool stuff, you know, even with quotes 200 pages. I like to look this book up

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Yeah.

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Montalvo Machado: I read a couple books. This is just and all the videos that I can, you know, try to watch it was it was such a strange thing because just when I

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Montalvo Machado: Saw Chris have written for the first time on on the internet was, I think it was a video with four guys

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Montalvo Machado: For

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Montalvo Machado: You if I just don’t remember the name but anyway.

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Montalvo Machado: I started following him then. One month later, I noticed you know I got this news that he just passed away. It’s just like, I think it was 2011

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George Pratt: So you killed him.

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Montalvo Machado: guilty about that but

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Tim Trabon: I really don’t know who Christopher Hitchens does. Yeah.

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Tim Trabon: Other than just having that book that my dad gave me. I really don’t know.

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Tim Trabon: Don’t know much about it.

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Montalvo Machado: Yeah, he’s got some interesting stuff.

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George Pratt: Yeah yeah

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Tim Trabon: George when you first saw SNL. How old are you, and

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Tim Trabon: What did you think this is gonna last 50 years

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George Pratt: I was we were in high school.

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George Pratt: I think I was 18 or 19 years old, whenever, whenever right john

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George Pratt: When it first came out the

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John English: Software junior in high school, junior high school

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George Pratt: Okay, yeah. So like 1718 years old.

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John English: At Georgetown graduate high school. Today’s 20 so he was little smile.

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George Pratt: Oh boy, gloves are off.

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Bill Koeb: You graduated high school

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George Pratt: Yeah. Well, I never did.

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George Pratt: Okay.

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George Pratt: George is one of the most

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John English: educated man. I know.

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George Pratt: I have everybody fooled.

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Tim Trabon: For those of you who have tuned in late and somebody just asked Montalvo, what are you drawing with

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Montalvo Machado: Oh yeah, this is a Pencil, pencil.

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Montalvo Machado: This

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Montalvo Machado: Is the same same material as festivals, but they they look like cancel so that they are cleaner and sometimes it’s better for making the first drawings and stuff, but I got the whole thing of pastels around here, just waiting for the joint just to get in the right place.

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Montalvo Machado: How’s How’s my time going

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John English: It’s going fine.

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George Pratt: Very quickly.

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Montalvo Machado: Very quickly, it’s just

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Montalvo Machado: My fingers one

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One minute.

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George Pratt: I’m doing

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John English: You got nine minutes.

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All right.

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George Pratt: How long was the

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George Pratt: How long was this. How much time did he hit 20

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John English: But we start we kind of stall why we were goofing around getting started, so I

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George Pratt: Feel like it’s been 20 minutes

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John English: No, I’m just teasing him. He’s got nine minutes left.

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George Pratt: Okay.

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Tim Trabon: Hey, hey, George. So you’re working digitally tonight.

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George Pratt: Yeah, I’m just wiped out. It’s like it’s setting everything up. I’m just like, oh man, forget it.

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Tim Trabon: No problem. Do you want to stream it at some point.

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George Pratt: Yeah, we’ll

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Tim Trabon: All right, cool.

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Tim Trabon: You know, I haven’t tried the multi zoom will let you do multi desktop screening now.

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Tim Trabon: But we haven’t tried it yet.

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Tim Trabon: It was really funny that we did it with Dale.

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Tim Trabon: WE WERE FEATURING I think we’re featuring Vanessa maybe or Audrey and Dale was streaming his, his digital desktop and in the recording it just, it just booted everybody else’s

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Tim Trabon: So the entire thing was just Dale dry.

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It’s just

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Tim Trabon: It’s just their updates not catching up with that.

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I know, yeah.

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Tim Trabon: They think that if you’re sharing your screen you’re doing a little PowerPoint.

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George Pratt: Right.

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So,

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Tim Trabon: Who is I’m just curious in the crowd. Who’s tuning in for the first time.

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Montalvo Machado: I invited a couple of people again.

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Montalvo Machado: Maybe there are some newbies around

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Tim Trabon: Down Roger second

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Tim Trabon: Second time. That name sounds familiar.

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Tim Trabon: Yeah.

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John Rogers.

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John English: Came to the Academy was instructor at scab for years just retired. Thank you for joining us. Don

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Congrats.

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Tim Trabon: Very cool.

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Tim Trabon: Good artist. Awesome.

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Tim Trabon: Somebody found the event on Facebook.

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Tim Trabon: Great. It’s good. It’s good to hear. That’s worth their while.

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Tim Trabon: Yeah.

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Tim Trabon: I gotta say if you’re attending if you’re not drawing it doesn’t count.

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Tim Trabon: There a couple of people have said they’re just lurking

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John English: That’s okay.

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Yeah.

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Montalvo Machado: That’d be there.

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Tim Trabon: hopefully all of you who are attending for their first time miss the first five minutes.

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John English: Yeah, kind of apologize about that today.

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John English: Nothing.

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George Pratt: Hey,

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Greg.

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Tim Trabon: You know everything you’ve heard about these colleges having nightmares. It was the opposite of that.

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Yeah.

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Tim Trabon: Was like a Steve Jobs keynote presentation.

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George Pratt: His work.

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Tim Trabon: Say,

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John English: Okay, if you weren’t here. We’re not talking

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Tim Trabon: Also, I should add, this is your first time joining

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Tim Trabon: Montalvo. This is your second time drawing with us. Bill Koch, you’re, you’re a series regular

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Tim Trabon: And you’re a recurring guest to our

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Tim Trabon: I but I you should all know if this is your first time joining almost every week we have kind of a different cast of artists some more regular than others. We try to change it up, send out invites to our art buddies to join and draw with us every Thursday night.

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Tim Trabon: So really never know who’s going to be here, which is, I think, makes it exciting kind of fun.

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John English: A lot of good drawers come through here.

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Tim Trabon: That’s the only thing you can count on.

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John English: A lot of great drawers come through here. So,

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George Pratt: So Chris is on the road. Huh.

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John English: He’s on the road, but

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John English: Like Monday he sends me a message on Monday said hey john I’m going to be traveling on Thursday. Can you send me the reference because I’m going to do the drawings from my hotel room.

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Tim Trabon: Yeah, he’s got himself.

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John English: Probably

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George Pratt: Which isn’t fair, because then he gets to spend all this time on on make it look nice. He buffs them up. Yeah, yeah.

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John English: Yeah Chris is really not as good.

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John English: As he actually looks

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John English: Exactly right.

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John English: We all want to bring a little comfort by saying that but

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John English: Unfortunately, Chris is as good as he actually is.

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John English: He’s amazing.

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Tim Trabon: shaver says, I always here for the rough start

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Tim Trabon: I think it’s better to call it guitar tuning.

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Tim Trabon: tuning our instruments.

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John English: What rough start

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Tim Trabon: That’s all by design.

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Montalvo Machado: Plan that’s

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Tim Trabon: You know, it’s good to have you here again.

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Tim Trabon: Miss you last week.

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Thank you. Yeah.

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Montalvo Machado: Hey Timmy, you’re going to post that picture that you talked about the on our last meeting with your father Frank Zappa

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Tim Trabon: Allah. I’ll see if I can dig it up. I think I might have it on my computer.

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Montalvo Machado: Just got good

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Tim Trabon: So this is when they’re supposed to stop drawing

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John English: I don’t know if they heard me.

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Bill Koeb: Man, yeah.

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Tim Trabon: They did this is

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Tim Trabon: We don’t have a strict stop drawing policy.

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Tim Trabon: Pencils DOWN.

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Bill Koeb: Depends on if He’s counting Timmy minutes or 90 minutes. Yeah.

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John English: We can we can start

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Montalvo Machado: Time seems to run faster when you were drawing here.

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John English: Funny how that works.

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John English: Bill you up next.

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Sure.

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John English: What was your

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Again,

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Tim Trabon: There’s no, there’s no photo choosing Right now john it

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Tim Trabon: Remember we discussed what was up next.

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Bill Koeb: Yeah. Why pick the one with the girl with the

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Bill Koeb: Was kind of a close up and it should red hair.

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Bill Koeb: Should my shadow on her face.

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Tim Trabon: The next john. So do you want to go next job.

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John English: What’s the next one to Brian

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Tim Trabon: About the Bray. Yeah.

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John English: It doesn’t matter to me if somebody else wants to draw that they’re welcome to

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John English: I’m pretty distracted right now.

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Tim Trabon: We need a leader, Bill. Do you want to drop

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Bill Koeb: Um, yeah, I could try this one. Sure.

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George Pratt: Which one is it

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Bill Koeb: It’s a girl with a burger. A pretty green eyes.

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Tim Trabon: You just go to the webpage and hit refresh. You’ll see it.

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George Pratt: I just have the ones john sent me so I see what you’re saying.

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Bill Koeb: Yeah, I’ll try that.

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George Pratt: Little red thing in the front of it.

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Yeah.

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Tim Trabon: Alright everybody, so if you do that last image with us.

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Tim Trabon: Thank you. And be sure to share it and I’m going to share right here. Be sure to include these in your tags.

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Tim Trabon: You can also share it with us on facebook group. The illustration isolation Facebook group page is a

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Tim Trabon: Become a really fun hang out during the week. I think we’re going to continue to post reference photography on Mondays, just to keep things moving during the week so everybody who

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Tim Trabon: Participated in that

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Tim Trabon: Awesome, a lot of really cool work.

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Tim Trabon: To watch get made mid week

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John English: Whole bunch of chats in here that I have not even looked at even follow them in the chat.

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John English: Timmy.

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Tim Trabon: You’re in your studio just stopping by. Hey,

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Bill Koeb: Struggling with the glasses, no glasses thing.

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Tim Trabon: Is it been a busy week for you go

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Tim Trabon: What have you had a busy week

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Bill Koeb: Um, yeah, I’ve been

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Bill Koeb: Working on

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Bill Koeb: Some

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Bill Koeb: I want to do a workshop sometime in October, like little two hour thing. And so I’ve been working on.

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Bill Koeb: Developing the stuff for that.

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Bill Koeb: And

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And do an old color studies, things like that.

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What are the color studies for their to show students for this whole to two hour workshop. Okay, so they’re part of the workshop. Yeah, it’s part of the workshop and

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I’m going to do it. I’m going to do a talk about to cut to color painting or well two colors plus y

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Is if anybody should stand up.WEBVTT

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John English: What’s good

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George Pratt: About tech support.

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Tim Trabon: When you get john English and George Pratt in a zoom room.

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Tim Trabon: There’s not a lot you can do

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Tim Trabon: It is a it is a

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Tim Trabon: Uphill battle.

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John English: I’m really kind of taken back by that because

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John English: Normal fall. Guys, Chris.

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Tim Trabon: Well, because he says easy to

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Tim Trabon: You know why. It’s because he like he wears it like a badge of honor.

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Bill Koeb: was true.

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Yeah.

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Bill Koeb: Last week I spent the entire week.

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Bill Koeb: I have a friend that’s a sign installer.

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Bill Koeb: Sign Painter

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Bill Koeb: And I spent almost all week at UNC helping installed vinyl graphics

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Bill Koeb: Interest. Good work. It’s pretty good.

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Tim Trabon: I’m I’m I’m disappointed for it, somebody just said the base of technical difficulties, I’m disappointed for anybody who joined for the first time, we do not have technical difficulty problems, often outside of Chris Payne

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Tim Trabon: And and Chris

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Tim Trabon: Chris pays for his entry with his talent. So

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John English: It’s Chris

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Yeah.

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Tim Trabon: We, we will

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Tim Trabon: Will accept some technical difficulty based on scale.

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You know,

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Tim Trabon: It’s kind of like Shaquille O’Neal can’t make any free throws.

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Tim Trabon: makes up for it elsewhere.

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John English: I’ll tell you a very funny story about that lady to Gary Kelly this conversation that came up about

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John English: The students. This was probably seven or eight years ago. Students were listening to Gary talk about his

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John English: Illustration process and delivering his work and and they were kind of shocked that he still he still delivered all of his work as originals.

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John English: He has trees a traditional Illustrator and he worked whatever he was working at the time, whether it was model type or Pascal, or even oh no he would send the original piece.

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John English: And so this debate to start it and this one’s

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John English: Going to kind of went on site, Gary. That’s not going to last very long. People are going to quit using you because you’re so behind behind it. Yeah, the time. So he said, why I kind of look at it a little differently and

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John English: So he said, I like to think about. Like when I send an art director a package.

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John English: There, get this, like they have to unwrap the package. It’s like they’re getting a Christmas present.

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John English: And so the student went on to tell them why that wasn’t going to work and how it wasn’t going to happen any simple this is

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John English: Anyone on to say, Well, I’ve done, I’ve done these few projects and I’ve always delivered it now, you know, delivered digitally to the art director of the art director has opportunity we can make changes quicker and all the benefits of digital delivery and

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George Pratt: You aren’t going to

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John English: Carry looked at him really seriously, he said. He said, but there’s still one difference. You’re not counting for

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John English: The students that will, what’s that Mr. Kelly, because my clients are getting a Gary Kelly.

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John English: Beautiful.

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John English: Look,

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John English: They’re opening up an original Gary Kelly and I don’t care how you deliver yours. They’re still getting into Gary Keller.

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Tim Trabon: Because they say if the student. The student has a point in that if you don’t have 30 years of experience or 40 years of experience that goes back to a pre faxing era.

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John English: Yeah. What was the only reason I told that to that.

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Tim Trabon: Oh, yeah.

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John English: What you were saying about yeah it’s Chris pain, you can get away with it. It’s Chris

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Tim Trabon: Yeah. Now, many people get the past the tech tech ass, especially when you attended tech program because I gotta say. JOHN We are not anti tech

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John English: Oh, definitely not.

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John English: No wouldn’t be

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Tim Trabon: One anybody at the mistake that

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George Pratt: Is just pick is anti you

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Yeah.

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John English: Doesn’t work well with me.

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John English: Illustration is always followed technology. It’s always been a product

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John English: Technology and then it continues to change because of it and always will.

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John English: mass producing with the printing press allowed illustration to exist. Basically, and whatever.

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John English: Whatever technology. I mean, it was kind of interesting. I always thought that I love listening to people talk 20 years ago about it’s the end of traditional illustration. It’s the end of

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John English: June in general with digital photography and it took a huge, it was really interesting photography took a bigger hit. Um, yeah.

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George Pratt: With the iPhone and everything.

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Absolutely.

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John English: But you got to change. You got to adapt and so many new marketplaces have opened up for good visual storytellers so

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John English: Important work and pay attention to technology.

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Tim Trabon: I would say that photography has more opportunities now.

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Tim Trabon: To more people

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John English: Well, seriously though to me. I mean,

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Tim Trabon: I know you’re talking about. But I’m saying the playing field has been leveled and really great way because, see, you know what, what’s really wild is like

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Tim Trabon: I mean I I saw it firsthand, there was a whole new age group of young artists starting studios and production is is that could have never fathom ugly.

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Tim Trabon: Funded you know it was a the opportunities about it. Now if you’re talking about like the stock photo industry. Yeah, I got you know that that decimated things

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Yeah.

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John English: That’s part of it for sure. Yeah.

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Tim Trabon: But it is really interesting like

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Tim Trabon: Like you know

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Tim Trabon: I don’t even I can’t even like began to really guess

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Tim Trabon: How much, but like, you know, what did it cost you know 20 years ago to open up a photo studio compared to what it would cost. Now to open up a fully functioning photo studio

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Tim Trabon: Pretty, pretty different you know

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Yeah.

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Tim Trabon: Now that doesn’t mean anything about a good function for testicle. Yeah.

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George Pratt: Well, I was like, when desktop publishing hit yet everybody in their dog, you know, able to finally do some of this stuff. And there was a whole lot of really bad stuff, you know, and it finally sort of evens out a little bit.

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George Pratt: Where the cream rises to the top.

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Tim Trabon: Yeah, I mean, like what yeah it’s like who cares if there’s bad stuff like you’re saying like yeah the cream rises, you know, people are going to

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Tim Trabon: Appreciate the good stuff. Hopefully the talented artists.

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You know,

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Tim Trabon: Yeah forward.

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Tim Trabon: You know the cream rises, the crop. Yeah.

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Tim Trabon: Like

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Tim Trabon: You know, like, that’s why you know like 20 million people watch. Keeping up with the Kardashians.

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Tim Trabon: Good stuff just

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George Pratt: It just

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George Pratt: Well,

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Tim Trabon: Yeah.

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George Pratt: Yeah, you know, you know, who lives here in Sarasota to is Jerry Springer. And it’s like, he started it, it’s like wow you know I’m amazing people walk around and I’ll be mugged. Yeah.

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George Pratt: That that right that race to the bottom.

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Montalvo Machado: race to the bottom and seems to be a worldwide movement.

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George Pratt: Yeah.

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Montalvo Machado: Scary really

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George Pratt: Really is.

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Tim Trabon: How do you, George on the topic of the

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Tim Trabon: Bottom. No, I was gonna say

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Tim Trabon: Bottom because I remember I was talking with I was in a group of photographers like years ago and they were just ragging on this photographer who would I mean it was a, I would say that for the most part.

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Tim Trabon: It was a it was a

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Tim Trabon: Meeting of jealousy of a bunch of people talking about one artist who was just seeing a lot of success. And, you know, arguably, you could argue that he had like there was nothing good about his work.

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Tim Trabon: Yeah, but for whatever reason.

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Tim Trabon: He was like the talk of the town not you know the colloquial saying like he was just getting work he was doing. Everybody was hiring him and so

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Tim Trabon: How do you feel about stuff like that like an illustration. Well, is that just kind of like, Don’t hate the player.

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George Pratt: Yeah, I mean I, you know, shoot, I can remember.

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George Pratt: Being you know insanely jealous about the work. Some people were getting, you know,

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George Pratt: Which was really stupid because it’s like they didn’t do what I did. You know what I mean, it’s like we didn’t do the same stuff. So I would never have gotten those jobs in the first place, but it was like

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George Pratt: But still you know saga Bilson cabbage.

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Happiness.

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George Pratt: Bill, Bill. Bill, the same, same thing. You know that he used to like really used to really bugging that people were getting the certain kind of jobs and whatever and and then he sort of realized like he just sort of woke up and was like, he’s just glad anybody’s doing anything, you know,

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George Pratt: But it took a while to get to that place, you know,

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George Pratt: That there’s always going to be that you know that faction that just

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George Pratt: What is it, you know, what’s it gonna hate. Whatever.

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Tim Trabon: You just gotta hate

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Tim Trabon: Um, yeah, I

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Tim Trabon: I I listened to pry like every week. I probably listen to an interview with somebody I know really nothing about. And this week, this will be a divisive one. I wasn’t do an interview with Tom Brady and

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Tim Trabon: Whether or not you have opinions on Tom Brady, because all I kind of knew is that he had an insane diet, but I didn’t really know if he was like

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Tim Trabon: I didn’t know it is is out his outlook was on greatness or whatever. But one of the things that I thought was really interesting is somebody just said he cheats

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Tim Trabon: Now one of the things that he said that I thought was really interesting. He talks about

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Tim Trabon: Like greatness and that like if I think a great example is like if Michael Jordan had his if his, uh, if his measurement of greatness. I’d been, I don’t know, say,

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Tim Trabon: Larry Bird or anything. If it had not been just himself, the day before he never would have become Michael Jordan like

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Tim Trabon: It was this if you measure your if you measure your progress, based on other people. Is it really, I thought, I thought it was a really interesting

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Tim Trabon: Perspective, because he talks about talking with young athletes that are getting into the league basically saying like, How good do you want to be.

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Tim Trabon: I don’t know, to me, it really transfer to the creative world and that it’s like if you compare yourself to someone else, or if you’re only everything in about what other, other people are doing.

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Tim Trabon: You really set the ceiling.

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Tim Trabon: At that at what they’re doing, you know,

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Tim Trabon: Yeah. What do you do when you out paste them.

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Tim Trabon: You know Tom Brady is right, George.

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George Pratt: No, I don’t.

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Bill Koeb: Know the Father and that should show

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George Pratt: The Brady Bunch.

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Tim Trabon: I don’t know me or not.

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John English: You’re just not

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Tim Trabon: George is being real. I know George is being real. I think those massive

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John English: Massive with. Yeah. Pretty sure

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John English: I

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Tim Trabon: Also know that our whole audience is like bra.

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Tim Trabon: Tom

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Bill Koeb: Jones.

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Yeah.

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John English: There’s there’s somebody Tom Jones, I saw Tom Tom Jones perform live about 15 years ago.

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John English: It was one of most gratifying experiences in my life. The guy was amazing.

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John English: Incredible craftsman. I couldn’t stand Tom Jones before I went into the concert and I got done and I was like, this guy is amazing.

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John English: He devoted his life to skill and craft and he perfected it and he was just absolutely astounding performer.

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John English: You can cry.

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Tim Trabon: How long ago that

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John English: 15 years ago.

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John English: So I’m in Vegas and was given tickets. And I was like, man, I do not want to go to this thing.

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John English: I was so bummed out when I could, I would have walked back right back into the concert, if he was doing another one. He was just, it was so unbelievably good it was all about.

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John English: Somebody that had a devoted his life to developing a really high level of craft and

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John English: He definitely did it.

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Montalvo Machado: This kind of virtuosity is fascinating in any field just like

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Montalvo Machado: Tennis or dancing or whatever you you look at someone doing something really special doing better than anyone else. I think it’s a fascinating experience.

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John English: I agree.

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Montalvo Machado: sometimes surprising. It’s just like watching some of these YouTube

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Montalvo Machado: Things that people do like Woodcraft they put that into a machine that is just spend the woods and go crafting it

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Montalvo Machado: Sometimes I spent like half an hour just watching one guy doing a face never seen that before. It’s just like, It’s beautiful to see someone doing you know excellence in anything that is amazing.

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Tim Trabon: Montalvo I got pulled into a YouTube video watching someone restore like a

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Tim Trabon: I don’t know about 600 year old painting and it was

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Tim Trabon: It was just absolutely like you’re saying like, I, I, it was just beyond me could not believe it.

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Montalvo Machado: It’s beautiful, isn’t it, yeah.

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Tim Trabon: I almost shared it to our Facebook group. But then I was like, God, nobody here everybody will be like God seen that before.

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Montalvo Machado: Maybe not that

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Montalvo Machado: I’d like to see that.

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Tim Trabon: It looked like magic to me. It was really it was it was I think it was it what, to me it was wild. As I was like

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Tim Trabon: And maybe somebody knows the answer to this. I was just like, where do you go

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Tim Trabon: How do you get schooled on that.

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Tim Trabon: You know,

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John English: Go to school for to become a curator right

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Tim Trabon: But then, I guess, at a certain point, though a lot. I mean, a lot of it is you get the secrets.

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Tim Trabon: I guess for me it was like like john you say go to school, be a curator, but for me it’s like

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Tim Trabon: I made a food stylist once and I was like, how did you become a food stylist. Now, like it’s just one of those things were like you have to meet like 100 people and they all tell you the little secrets that they figured out their work.

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Tim Trabon: And that’s how you you know you learn it is you get all these little

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Tim Trabon: You know,

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Shortcuts from everybody.

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Tim Trabon: And I don’t know.

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Tim Trabon: Maybe there’s a school that specializes in restoring you know 550 year old paintings. Well, then

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Tim Trabon: We should start a course on that john yeah

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John English: Bill got it right. It’s there’s conservative programs for sure.

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Bill Koeb: Yeah, I’ll do it. I’ll do it like a renaissance

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Tim Trabon: Painting restoration online.

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Course

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Tim Trabon: If you sign up. We’ll send you will send you your damaged Renaissance painting.

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Yeah.

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John English: There might be a few waivers in that one.

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Tim Trabon: Okay, pay for the Renaissance, the damage Renaissance painting when they sign up

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Bill Koeb: Is there, is there a course where you get to damage the Renaissance painting.

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Tim Trabon: That would make it really a

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Tim Trabon: Really great ecosystem bill.

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Tim Trabon: Yeah.

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I

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Montalvo Machado: Think I saw a few years ago, some

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Montalvo Machado: I think was Norman Rockwell painting that was really damage and they took it to a risk, you know, some restoration

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Montalvo Machado: Studio and they did a beautiful, beautiful job and it just and gluing it from the base first and then you know treating the paper and trying not to damage. You know what, what was already old and then you know it was beautiful craftsmanship there.

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Tim Trabon: We are Allah says, yep, there’s a bunch of restoration masters, but they usually require six years of chemistry now. Wow.

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Montalvo Machado: That’s true.

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Bill Koeb: Yeah, because I

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Bill Koeb: Know what’s gonna what’s going to take off the varnish and not not the

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Montalvo Machado: Absolutely.

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Tim Trabon: Six years

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Tim Trabon: That’s why I’ll

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Montalvo Machado: Just like medicine.

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Tim Trabon: Yeah, I was just gonna say three more years and they can perform surgery on that painting.

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Yeah.

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Montalvo Machado: But the difference is that the patient won’t die if you do something wrong.

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Tim Trabon: Your neck might be on the line.

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Yeah yeah

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Montalvo Machado: Your million dollars.

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Montalvo Machado: Yeah, your negative account wouldn’t be a nice thing to have.

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Yeah.

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Montalvo Machado: I wouldn’t like to be there.

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Montalvo Machado: Just like the guy that hit, you know, I think it was a an auction or something like this. And there were two guys presenting a vase big face. It’s like

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Montalvo Machado: Hundreds of years old saying that this will will be sold to that man for one and a half million dollars. And then the guy goes with with a hammer and say, well, now any breaks the thing in front of everyone.

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Model.

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Montalvo Machado: Horrible. It’s just like the face of that he does just like looking at what have I done

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Montalvo Machado: So amazing

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Montalvo Machado: I don’t know. Why am I laughing about that.

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Montalvo Machado: Because that’s tragic

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Tim Trabon: No, it really is. But it’s like

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Tim Trabon: Everything breaks at some point, eventually

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Montalvo Machado: It was so valuable. It’s just been to a man, it’s just one and a half.

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Montalvo Machado: Dollars phase.

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Tim Trabon: There’s a really, really good episode of this podcast called radio lab and it’s called the quickest way to make a million dollars and basically

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Tim Trabon: They talk about the

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Tim Trabon: museums. Museums in America at least a great deal of their budget is allocated, not towards like like popular film will lead you to believe that it’s all these like anti theft protocols and security systems, but it’s really, it’s really just like

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Tim Trabon: Like hourly employees to make sure people don’t trip and fall into a painting.

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Tim Trabon: And a big part of it is actually how

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Tim Trabon: Museums supposedly

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Tim Trabon: Like

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Tim Trabon: Very, very easy to rob apparently. And I guess like most most deaths that museums are just because employees forget to lock the door.

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George Pratt: Wow.

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Yeah.

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Tim Trabon: Yeah, it was really, it’s a really entertaining episode, I don’t know.

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Tim Trabon: The real as a pretty like they’re pretty legit with their information so

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George Pratt: Oh,

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Tim Trabon: What’s next, guys.

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Tim Trabon: Is it now it’s pick of the litter, you’ve got all the photos out

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Tim Trabon: Whatever you want.

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Montalvo Machado: Now, you say that

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I’m kidding.

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Tim Trabon: Okay. All I needed some direction.

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John English: Orange, what do you want to draw

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George Pratt: Then when you were talking about the other person’s or whatever.

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Tim Trabon: Okay, okay.

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George Pratt: Do you need me to share this screen.

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Tim Trabon: Yes, now

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Tim Trabon: Let’s do it. I’m going to stop by Montalvo page that for you that

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Montalvo Machado: I’m finishing this one here, just like

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Montalvo Machado: 20 minutes later.

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Tim Trabon: Nice.

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Montalvo Machado: That this

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Tim Trabon: looks great though.

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John English: Thanks, man.

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Thanks.

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George Pratt: So my lead is not showing up, or how does that work.

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Tim Trabon: George, I don’t know.

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Tim Trabon: You should just share your screen.

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George Pratt: Thing is, I signed in twice, but I’m only seeing one

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Tim Trabon: John. Are you ready to draw

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Tim Trabon: Well, George.

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Tim Trabon: Yeah.

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Tim Trabon: Yeah port or we can have, you know, Montalvo could draw again.

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Yeah, I

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Tim Trabon: Mean, George. Maybe I can give you a call.

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George Pratt: Not Sorry.

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George Pratt: Do you hear my voice.

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Bill Koeb: Yeah, I can hear you.

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George Pratt: Okay.

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George Pratt: Yeah, I’m I know what it is. Hang

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On

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George Pratt: Before

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So,

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Tim Trabon: Yeah.

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George Pratt: So,

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Tim Trabon: So we’ll stop by Montalvo. We’re going to stop by your studio and then

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Right.

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Montalvo Machado: Which one do I have now.

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Montalvo Machado: Can I choose from one of those

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Montalvo Machado: Here that you sent me on email.

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Tim Trabon: Yeah, let me

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Tim Trabon: Let’s do this.

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George Pratt: So I think what it is, Timmy is you need to make me that other me in as a panelist. I think I’m in this little list of regular people

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Tim Trabon: Okay, George. Well, I’ll give you a call on a second. We’ll figure it out.

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John English: Right now, and you will draw a lot, you’ll do the last post

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Okay.

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John English: Save save that save that reference for George because you really

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Tim Trabon: Want to keep this drawing train moving so

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Tim Trabon: Yeah so Montalvo I just updated the photo. It’s a

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Tim Trabon: It’s a she’s short hair in the cameras shooting from a low angle.

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Montalvo Machado: The green background.

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Tim Trabon: In the green background. Yes.

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Montalvo Machado: Yeah, I was. I was about to choose that one.

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Tim Trabon: I knew it.

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Montalvo Machado: Yeah, yeah. Cool.

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Montalvo Machado: All right, so can I, can I go for it.

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Tim Trabon: Yeah.

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Tim Trabon: You and then George, I’ll give you a call.

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Right.

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Tim Trabon: Tech Support problem so

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Tim Trabon: just got off the phone with George. It is resolved.

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Montalvo Machado: It’s a really beautiful picture, by the way.

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Montalvo Machado: Of the colors and the attitude.

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Tim Trabon: And just reminder to the new reference is just

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Tim Trabon: Sink is where the the previous references is just updated. You might yeah you’ll want to hit refresh.

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Tim Trabon: But it will be there and I’ll send you the link right now just to

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Tim Trabon: Make it easy.

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Tim Trabon: Sometimes it takes a minute for it to show up if you’re

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Tim Trabon: Having issues just

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Tim Trabon: Try hit refresh and should should appear, though.

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Montalvo Machado: We can make you question about papers and stuff.

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Tim Trabon: Yeah, you might be disappointed in how little I now.

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Montalvo Machado: Know, because when I was there last time, I think it was 2016 there was a paper that you brought, I think it was to to George, maybe, and he gave me a couple of pages.

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Montalvo Machado: It was just like a white paper with a kind of sudden on this just beautiful for watercolors, because the watercolor wouldn’t, wouldn’t get wouldn’t soak in the paper.

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George Pratt: That’s the utopia.

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Montalvo Machado: Paper. Oh, good.

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Montalvo Machado: Yeah. Is it, is it easy to find that kind of paper anywhere.

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Montalvo Machado: No, no. Oh, that’s

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Montalvo Machado: What it’s called utopia.

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George Pratt: Yeah. When you find that it’s like you’re in heaven.

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Montalvo Machado: I think I still have a little piece of paper that you gave me George that those days and I never, never had the courage to use it.

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Montalvo Machado: So good.

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George Pratt: You

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Montalvo Machado: Know that that

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George Pratt: Working

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George Pratt: I was working with Timmy his dad to try and, you know, figure it all out, because we we were even talking about trying to maybe market it you know

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George Pratt: For work.

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Tim Trabon: watercolor paper empire.

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George Pratt: Yeah, the watercolor tycoon

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Tim Trabon: Yeah, he’s a watercolor tycoon of the issue of

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Tim Trabon: Money.

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John English: Yeah, God would have figured it out.

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Tim Trabon: He would have just done it because I think

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Tim Trabon: It was kind of funny.

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Tim Trabon: Yeah yeah

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John English: You could have put that right there with the olive oil company.

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Tim Trabon: The olive oil. Yeah. If anybody is looking for a nice Sicilian, all while we still we have

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Tim Trabon: Bottles, we need to flip

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Tim Trabon: Yeah.

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Montalvo Machado: Are you shooting them to Brazil.

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Tim Trabon: Find a way

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Tim Trabon: I’ll find a way

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Montalvo Machado: For the paper first

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John English: It will be wrapped in in

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Bill Koeb: In the paper.

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Tim Trabon: That’s a joint venture

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Montalvo Machado: Yeah.

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Montalvo Machado: Who could ever guess is just crazy utopia paper and olive oil.

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Montalvo Machado: Do you have a name for the olive oil is just utopia to

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Tim Trabon: Ethiopia know

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Tim Trabon: Why that the auto is called

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Tim Trabon: It is called Barone Emilio and it is a it is distributed by bone of your imports which is a company. My dad started

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Tim Trabon: So, uh, yeah.

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Tim Trabon: And now I have an unending supply of Sicilian olive oil.

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Nice.

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Tim Trabon: Me and my brothers and my mom. Yeah, it’s amazing. Although

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Tim Trabon: In fact, it might become like a panelist and illustration isolation panelists gift.

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Montalvo Machado: Whoa.

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John English: Yeah, so not internationally.

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Tim Trabon: Yeah, I’ll figure it out, we’ll get

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Tim Trabon: We’ll get Bruno to come to the Academy and we’ll send it back with him.

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Right.

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John English: You got to come pick it up on top. Oh.

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Bill Koeb: Yeah yeah

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Montalvo Machado: Don’t to

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Tim Trabon: JOHN THE HALL might be the best weekly prize. We can give out because it’s something we have

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We have

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John English: substantial amount

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Tim Trabon: Yeah, well everybody that we have the the the vintage the 20

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Tim Trabon: The 2018 which we were we were all little distracted and I tied up with, I think, so as long as you’re okay with the expiration date.

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Tim Trabon: You’re going to

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Montalvo Machado: Think, well, you

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Tim Trabon: Know dollars.

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Montalvo Machado: would degrade so fast.

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John English: Fibers free

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Virus.

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Montalvo Machado: Virus free. Yeah, that counts.

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Tim Trabon: Just shared online. I, I just shared a link to my half finished website for the company. So I don’t think you can even check out on it so

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Tim Trabon: But you can also check it out.

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George Pratt: Yeah I would mind ordering son.

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Tim Trabon: Your daughter George Allah

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Tim Trabon: Whoa. Whoa. What’s this start paying you with all

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George Pratt: You find me on the black market selling it at triple value.

384

00:36:02.640 –> 00:36:03.840

Tim Trabon: Yeah, you’re gonna be flipping it.

385

00:36:07.800 –> 00:36:08.190

Tim Trabon: Yeah.

386

00:36:10.260 –> 00:36:13.650

John English: I think he would be okay with that because you would establish the price.

387

00:36:13.980 –> 00:36:15.210

Tim Trabon: Yeah yeah

388

00:36:16.560 –> 00:36:18.030

Tim Trabon: Yeah, that might help us out, actually.

389

00:36:23.730 –> 00:36:25.230

George Pratt: You know it’d be cool to is if

390

00:36:27.420 –> 00:36:32.340

George Pratt: Maybe at the end of the session I Metallica showed some of his sketchbooks just

391

00:36:32.760 –> 00:36:33.540

Montalvo Machado: Got some here.

392

00:36:33.900 –> 00:36:34.560

Tim Trabon: I would be cool.

393

00:36:35.100 –> 00:36:35.760

George Pratt: They’re awesome.

394

00:36:36.570 –> 00:36:38.130

George Pratt: Well, thank you for Montel

395

00:36:38.820 –> 00:36:39.660

Montalvo Machado: Me is just

396

00:36:41.250 –> 00:36:43.500

Montalvo Machado: It’s just to hear that from you.

397

00:36:46.140 –> 00:36:53.220

John English: George, we were we were commenting about like funny somebody was talking about the worst crit they ever got before

398

00:36:55.980 –> 00:37:04.410

John English: Study all last night. So there was a bunch of funny lines, back and forth. And I kind of use the one that you use all the time, which you just use was

399

00:37:04.470 –> 00:37:07.140

John English: Hey, that looks really great for you.

400

00:37:10.380 –> 00:37:19.500

George Pratt: I’ve been like slamming my students were up there, you know, painting from life. And I’m like, I’ll go look at somebody in like, you know, we’re all painting. What’s on the stand.

401

00:37:25.380 –> 00:37:28.860

John English: It got the biggest laugh last night, that’s really good for you.

402

00:37:31.980 –> 00:37:36.060

John English: Brett. Brett and john are joined us last night for that was a fun night.

403

00:37:37.380 –> 00:37:41.160

Tim Trabon: I’m assuming that that was at the expense of somebody who could handle

404

00:37:41.910 –> 00:37:46.260

John English: Oh, I know it was at the expense of nobody we was hypothetical

405

00:37:46.740 –> 00:37:48.660

John English: George Pratt doing it to somebody else.

406

00:37:49.650 –> 00:37:52.500

Tim Trabon: It’s really, really only ever done to people who

407

00:37:54.240 –> 00:37:55.620

Tim Trabon: Who don’t deserve it.

408

00:37:58.680 –> 00:37:59.100

Tim Trabon: Yeah.

409

00:38:01.110 –> 00:38:01.800

George Pratt: That’s up there with

410

00:38:02.760 –> 00:38:03.480

George Pratt: My favorite

411

00:38:04.440 –> 00:38:04.950

Yeah.

412

00:38:09.000 –> 00:38:21.480

Montalvo Machado: You know john just before I got in, I think, was half an hour before I got in. I was remembering that day that we got Marcello prank Chris Payne, remember

413

00:38:22.530 –> 00:38:23.490

That was awesome. It

414

00:38:24.510 –> 00:38:25.650

Montalvo Machado: was so funny.

415

00:38:25.950 –> 00:38:28.110

John English: Marcella could barely speak English.

416

00:38:28.650 –> 00:38:29.040

Montalvo Machado: Yeah.

417

00:38:29.580 –> 00:38:30.270

Montalvo Machado: And Chris

418

00:38:30.420 –> 00:38:35.100

John English: Is the first time that Chris, will the first time he showed up that year and he was demoing

419

00:38:36.330 –> 00:38:52.290

John English: And so my dad thought it’d be really funny to have to get Marcello to walk up and stand in front of the table, wherever. Everybody else is standing behind the table and he’s looked kind of looking over Chris Payne at his work upside down.

420

00:38:53.310 –> 00:39:10.440

John English: He came in, he came in late, and Chris. It started his demo and Marcello is broken English asked, So Mr. Payne, what are you doing for your technique and he explained the whole thing. And he said, Oh, you’re just doing that Mark English technique and then turned and walked out

421

00:39:13.830 –> 00:39:16.500

John English: And Chris, I mean, Chris just took it. I mean,

422

00:39:19.620 –> 00:39:22.290

John English: You just couldn’t believe the guy said it was awesome.

423

00:39:22.590 –> 00:39:22.890

That

424

00:39:25.890 –> 00:39:27.480

Montalvo Machado: He was so comfortable

425

00:39:28.770 –> 00:39:29.220

Montalvo Machado: He does.

426

00:39:29.250 –> 00:39:30.900

Montalvo Machado: Know, I can do this.

427

00:39:31.320 –> 00:39:34.500

Montalvo Machado: I just can’t do this and we we forced them to

428

00:39:36.300 –> 00:39:37.620

John English: It was, it was pretty good.

429

00:39:37.680 –> 00:39:42.660

Montalvo Machado: He loved his work so much. And it’s a no, I can’t do that with Chris He’s a hero for me.

430

00:39:44.310 –> 00:39:44.760

John English: I did a

431

00:39:45.960 –> 00:39:50.490

George Pratt: Year we the windmills was first there we gave you, Bill had to be to create

432

00:39:51.750 –> 00:39:53.430

George Pratt: And again,

433

00:39:54.150 –> 00:39:54.900

Any come on my

434

00:39:56.010 –> 00:40:10.200

George Pratt: He comes in late and we’re doing to create and he is. Oh my god, he just like tore into that guy. That guy was so uncomfortable with a whole on funny to you. You think I’m funny, you know, the hell it was great.

435

00:40:11.340 –> 00:40:12.510

George Pratt: Like I was freaking

436

00:40:15.390 –> 00:40:15.750

John English: Out when

437

00:40:17.550 –> 00:40:19.710

Tim Trabon: We’re walking in and being like, this is gone too far.

438

00:40:22.290 –> 00:40:24.540

Tim Trabon: Everybody. This is a practical joke goodness

439

00:40:26.670 –> 00:40:32.220

George Pratt: To Gary that year. And he did it. He went up to the crit and he’s like really like this, it

440

00:40:32.460 –> 00:40:41.910

George Pratt: And he’s a five more. And he turned around and we were like everybody was freaking out. We were in john you had private and white saying that you know if Gary has mustache.

441

00:40:43.920 –> 00:40:48.450

George Pratt: Yet, don’t say anything because that’s, that’s like the queue that he’s like really like

442

00:40:48.840 –> 00:40:50.190

Tim Trabon: The Rainbow Dash.

443

00:40:50.580 –> 00:40:53.370

George Pratt: Yeah, that’s like he’s not in a good place. And

444

00:40:54.870 –> 00:41:04.650

George Pratt: He like did that with like making people put find more and then and then he couldn’t. He’s like, I can’t do this. And he he finally greater know that you become the

445

00:41:05.580 –> 00:41:09.300

Tim Trabon: PUNCH LINE OF A joke is the both of them are like the nicest people

446

00:41:09.690 –> 00:41:10.710

Tim Trabon: Yeah yeah

447

00:41:11.310 –> 00:41:11.730

Yeah.

448

00:41:13.260 –> 00:41:14.400

John English: Well Gary is

449

00:41:19.320 –> 00:41:20.490

John English: Bills phenomenal.

450

00:41:20.730 –> 00:41:23.010

John English: Yeah, incredibly sweet guy.

451

00:41:24.090 –> 00:41:37.500

Tim Trabon: I when he was in town for Comic Con. He was with us, that whole weekend and it was every 10 minutes. Somebody would walk up and you you knew that he he was aware that he meant something to them.

452

00:41:38.280 –> 00:41:55.350

Tim Trabon: Because they would, they would be like oh my god you know i i love your name right and he gave every single one of them the same like in depth attention and care because you kind of knew they were going to remember that, you know,

453

00:41:56.550 –> 00:41:57.840

Tim Trabon: There’s some weight to it.

454

00:41:59.250 –> 00:42:00.540

Montalvo Machado: memorable moment right

455

00:42:00.570 –> 00:42:14.310

Tim Trabon: Yeah, you know, and you know what I think is easy would be easy for me to forget or I think somebody in his position to forget is like yeah if you act if you act even slightly know it’s like that person is going to remember that for

456

00:42:15.090 –> 00:42:27.030

Tim Trabon: Oh yeah, it’d be a, you know, be a wrecking ball. So yeah, I couldn’t, I couldn’t believe it. He was so every single person that came up to him, he, he gave them this little special moment they got her number.

457

00:42:29.760 –> 00:42:32.940

Tim Trabon: Bill’s gonna be thanks a lot to me now everybody runs up to me.

458

00:42:37.470 –> 00:42:42.990

Tim Trabon: No, no, I heard, I heard it on this, uh, this drawing thing he apparently he just talks to everybody.

459

00:42:45.180 –> 00:42:47.190

Bill Koeb: Now, Bill has like one bad day.

460

00:42:48.180 –> 00:42:52.260

Tim Trabon: Yeah, you know, never, I’ve never seen it. He’s always

461

00:42:54.060 –> 00:42:54.960

Tim Trabon: always so nice.

462

00:42:57.420 –> 00:42:57.840

George Pratt: Yeah.

463

00:42:59.070 –> 00:42:59.100

George Pratt: I

464

00:43:03.150 –> 00:43:13.320

Montalvo Machado: Just wanted to say it feels good to be with you guys again just hearing your voices in my, you know, in my place in here is just like I’m back to the Academy

465

00:43:13.980 –> 00:43:15.090

Bill Koeb: Mass. Nice to see you.

466

00:43:15.480 –> 00:43:16.110

Montalvo Machado: Yeah, it’s

467

00:43:16.170 –> 00:43:17.250

Montalvo Machado: Nice to hear voices.

468

00:43:18.810 –> 00:43:21.240

George Pratt: Mantello when are you gonna start drawing

469

00:43:23.610 –> 00:43:24.600

Montalvo Machado: I’ve been trying

470

00:43:25.140 –> 00:43:25.980

Montalvo Machado: I’ve been trying

471

00:43:31.980 –> 00:43:35.790

Montalvo Machado: You know with this little thing of just stayed at home and you know

472

00:43:36.300 –> 00:43:36.960

Montalvo Machado: Yeah, I just

473

00:43:37.350 –> 00:43:43.830

Montalvo Machado: Got really back into painting and doing what I, what I really wanted to, because I’ve been digital for so long.

474

00:43:45.120 –> 00:43:45.480

Montalvo Machado: And

475

00:43:46.620 –> 00:43:49.770

Montalvo Machado: Sometimes it just you lose your hand right just

476

00:43:49.800 –> 00:43:51.240

Montalvo Machado: Stay away from

477

00:43:52.110 –> 00:43:53.580

George Pratt: Your digital traditional

478

00:43:55.380 –> 00:43:55.770

Montalvo Machado: Sorry.

479

00:43:56.100 –> 00:43:58.230

George Pratt: Your digital looks traditional, you know,

480

00:43:58.830 –> 00:44:10.770

Montalvo Machado: Yeah, yeah, this is something that I try to, you know, carry on with just doing Photoshop, as I was doing drawing using brush works and all this kind of stuff.

481

00:44:13.860 –> 00:44:29.790

Montalvo Machado: When I when I’m doing what I do professionally just met painting it just really got very little to do with what we do here. Yeah, so I miss paper I miss you know being with dirty hands.

482

00:44:29.970 –> 00:44:32.310

Montalvo Machado: It was just so funny. Just the other day.

483

00:44:32.430 –> 00:44:43.230

Montalvo Machado: I was working there and it was kind of easy week that we didn’t have much to do and I took my sketchbooks and started drawing some things

484

00:44:43.710 –> 00:44:53.940

Montalvo Machado: And, you know, got my fingers dirty with paint and stuff. And there’s this guy that comes along with me. I think he was like 2526 years old.

485

00:44:54.630 –> 00:45:11.040

Montalvo Machado: And he comes to me and say, what you do is just sketching and look, I got, I got some pain in my, in my hands is just like happy artist. He said, Oh, you got dirt in your hands. This is, this is not there. This is paint, let’s say, Well, I’m digital

486

00:45:12.480 –> 00:45:17.640

Montalvo Machado: And then it hit me. It was just this guy’s they were just born with a screen in front of them.

487

00:45:18.000 –> 00:45:18.360

And

488

00:45:19.560 –> 00:45:19.800

George Pratt: You know,

489

00:45:19.980 –> 00:45:20.220

Faint

490

00:45:22.380 –> 00:45:23.370

George Pratt: Square eyes.

491

00:45:24.570 –> 00:45:25.410

Montalvo Machado: Yes.

492

00:45:26.040 –> 00:45:27.030

George Pratt: And it’s just like

493

00:45:27.150 –> 00:45:27.570

Bill Koeb: I make

494

00:45:28.230 –> 00:45:29.250

Montalvo Machado: Magic in front of them.

495

00:45:30.690 –> 00:45:42.210

Montalvo Machado: When I’m starting drawing you know and paper and said, Whoa, you use paper you use, what can I see that and they go, flipping through the sketchbook and they go, just crazy.

496

00:45:42.720 –> 00:45:51.840

George Pratt: Because they’re open to take your seat today because a lot of the digital, you know, you can tell if they if they’re if they’ve done traditional because it’s reflected in their digital work, you know,

497

00:45:52.530 –> 00:45:53.370

Montalvo Machado: Oh yeah, does

498

00:45:57.240 –> 00:46:07.020

Tim Trabon: George just on the topic of Academy pranks. Do you remember when I was interviewing john foster down at the down we’re down in the last bottoms and

499

00:46:08.400 –> 00:46:22.680

Tim Trabon: Mark. Mark John’s dad Mark was in the background. And he kept he kept the wandering into the background. Looking at student work and he would talk to them during John’s interview and he was getting you could just hear Mark talking in the background of this interview.

500

00:46:23.550 –> 00:46:37.320

Tim Trabon: You remember i think i because I said I found the video. Just recently, I’m gonna I’ll see if I can send it to you. It was your meat. We were telling john were like you should you should spin around and

501

00:46:37.410 –> 00:46:40.860

Tim Trabon: And, you know, like, Hey, I’m trying to do an interview, he

502

00:46:43.050 –> 00:46:51.390

Tim Trabon: Really like you’re really upset right like you’re a diva. And I think I’m kind of like now I don’t know. And we were like, yeah, I know you should do it will be really funny.

503

00:46:53.610 –> 00:47:00.720

Tim Trabon: In the video he does it, and john really sold it. He spins around, he’s like, Hey, I’m trying to do an interview here and

504

00:47:00.780 –> 00:47:06.180

Tim Trabon: Mark and I zoom the Cameron on Marks face his expression.

505

00:47:07.380 –> 00:47:08.940

Tim Trabon: completely shocked.

506

00:47:10.380 –> 00:47:18.240

Tim Trabon: You know, and, and I swear it wasn’t even like a beat doesn’t even pass and john foster goes, I’m just joking. I’m just

507

00:47:22.410 –> 00:47:23.640

Tim Trabon: Scared and like

508

00:47:24.000 –> 00:47:25.980

Tim Trabon: Oh no, I crossed the line.

509

00:47:31.650 –> 00:47:34.710

George Pratt: Remember that john remember the time like I had that, uh,

510

00:47:35.790 –> 00:47:45.840

George Pratt: That palette with acrylics on it dried acrylics, but they look wet and Mark always wore those white coats and white shirts and stuff.

511

00:47:46.650 –> 00:47:59.100

George Pratt: And I remember going over to market tripping you know with that palette and then I never saw anybody dad so fast, and he was dancing, trying to get away from that palette. It was great.

512

00:48:02.340 –> 00:48:03.660

George Pratt: He’s gonna get paid all over

513

00:48:06.720 –> 00:48:07.440

It’s pretty good.

514

00:48:12.360 –> 00:48:17.730

John English: I, I do. I remember very funny time that Sterling was doing this was actually

515

00:48:18.840 –> 00:48:25.470

John English: The first time we did that in the building in the YMCA building in Kansas City, Kansas, Timmy.

516

00:48:26.040 –> 00:48:27.180

John English: Yeah, and

517

00:48:28.320 –> 00:48:37.860

John English: Sterling was doing his demo presentation and demo to the students. And he was in the midst of doing his demo and Gary just showed up for the week.

518

00:48:38.310 –> 00:48:50.640

John English: And so he was on MTV, he was bringing all the artwork. He brought he brought a whole bunch of originals out of his car, he was carrying them in and step two is too low and he’s he’s hanging them up behind Sterling on the wall.

519

00:48:54.660 –> 00:48:59.010

John English: Nobody starts everybody stops watching the demo, just looking at Gary’s work.

520

00:48:59.400 –> 00:49:03.210

John English: Yeah Carolyn’s reaction was beautiful. He was so

521

00:49:03.900 –> 00:49:05.640

John English: Taken back and he’s like really

522

00:49:06.180 –> 00:49:07.920

John English: Do you have to do that right now.

523

00:49:12.660 –> 00:49:13.860

Tim Trabon: How much time do we have left.

524

00:49:14.760 –> 00:49:15.300

John English: Quite a bit.

525

00:49:18.300 –> 00:49:19.440

John English: It is

526

00:49:29.640 –> 00:49:31.230

John English: I got so much pastel on my

527

00:49:32.400 –> 00:49:32.730

Tim Trabon: Fine.

528

00:49:34.080 –> 00:49:36.300

John English: Yeah, we got lots of time 18 seconds.

529

00:49:39.570 –> 00:49:39.930

Tim Trabon: Time.

530

00:49:40.500 –> 00:49:41.250

Nice.

531

00:49:43.770 –> 00:49:44.160

Tim Trabon: She is a

532

00:49:44.610 –> 00:49:45.240

John English: Little bit off.

533

00:49:45.900 –> 00:49:52.380

Tim Trabon: Is it Taylor Stephenson question. What is your a desert island medium. If you had to be stuck with one medium for the

534

00:49:52.380 –> 00:49:52.680

John English: Rest.

535

00:49:52.800 –> 00:49:53.940

Tim Trabon: Of life, what would it be

536

00:49:56.790 –> 00:49:57.780

George Pratt: Madam live. Oh.

537

00:50:01.650 –> 00:50:02.130

George Pratt: She wasn’t me.

538

00:50:02.970 –> 00:50:04.320

George Pratt: Elaborate he was a

539

00:50:06.300 –> 00:50:07.290

George Pratt: spiritualist

540

00:50:08.610 –> 00:50:10.380

Tim Trabon: I was like, I’m not familiar with that.

541

00:50:14.430 –> 00:50:15.510

John English: That was deep George

542

00:50:15.780 –> 00:50:16.950

Bill Koeb: Yeah, good.

543

00:50:17.550 –> 00:50:19.590

Tim Trabon: You’re just throwing everything at the wall. Tonight’s

544

00:50:21.360 –> 00:50:22.560

George Pratt: Let’s see, I’m tired.

545

00:50:24.390 –> 00:50:41.520

Tim Trabon: Jesse. Jesse asks, can anyone or is it just your students. It is a visual arts passage exclusive club. So if you enroll in our, our mentorship courses really any any course with us at all. You get access to study on which is

546

00:50:42.690 –> 00:50:43.470

George Pratt: It’s very cool.

547

00:50:43.530 –> 00:50:44.250

Tim Trabon: Awesome thing.

548

00:50:49.740 –> 00:50:56.910

John English: Lat last night study hall was myself Brent later, which in john foster

549

00:50:57.930 –> 00:51:06.480

John English: And we looked at about we looked at about 10 or more more probably 15 different pieces of work critiqued

550

00:51:07.200 –> 00:51:13.380

Tim Trabon: Yeah. One of the things I should add, just as john as you’re explaining this so people can get a better picture of it is

551

00:51:14.340 –> 00:51:34.440

Tim Trabon: When you join our mentorship programs. It’s not like this is a webinar setting where you know our guests as attendees, you don’t have access to video or audio. You can’t share your screen anything in our mentorship program you get full access, just like a panelist word so

552

00:51:36.600 –> 00:51:37.530

John English: Well, said to me.

553

00:51:39.000 –> 00:51:51.060

John English: Also the differences like a three hour live class on Saturday is the is the actual three hour class you sign up. If it’s on Saturday, Sunday or Monday you sign up for that three hours.

554

00:51:51.570 –> 00:52:01.680

John English: With that you get the study hall, which is another three hours. And of course, you’re in here, drawing with us for two and a half or three hours and then we have

555

00:52:04.680 –> 00:52:09.600

John English: communication tools that we communicate with our students throughout the week on a

556

00:52:12.660 –> 00:52:16.170

John English: What would you call that platform. I know what it’s called. But what would you call

557

00:52:16.590 –> 00:52:16.740

Tim Trabon: That

558

00:52:17.520 –> 00:52:21.540

John English: We’re talking. I’m talking about slack. I didn’t know if you wanted to bring slack up or not or

559

00:52:22.170 –> 00:52:29.280

Tim Trabon: Always use Slack, it’s our. It’s kind of like our, our home base during the week so

560

00:52:31.980 –> 00:52:37.320

Tim Trabon: I call it it’s it’s the it’s our schools. Clyde kind of

561

00:52:39.120 –> 00:52:44.340

John English: Allows us to stay in contact with our students all week long. I mean, nobody’s waiting around for an answer on

562

00:52:45.390 –> 00:52:49.230

John English: You know, really, really simple things which which thumbnail to develop

563

00:52:49.560 –> 00:52:59.640

Tim Trabon: Yeah, and frankly email sex in those stupid now and this is the way to communicate so much better. You know,

564

00:53:00.090 –> 00:53:01.710

John English: Some of our instructors, I’m hoping

565

00:53:01.740 –> 00:53:02.040

John English: All

566

00:53:02.070 –> 00:53:11.010

John English: Room will take on soon as they’re actually doing video recordings for the slack response of the critiques during, during the week.

567

00:53:40.290 –> 00:53:45.570

Tim Trabon: should also add if if you really enjoyed attending this figure drawing session.

568

00:53:46.590 –> 00:53:50.670

Tim Trabon: And you still want to up your game and configure join john. I can’t believe we didn’t talk about

569

00:53:52.170 –> 00:53:54.240

Tim Trabon: Your class is now up

570

00:53:54.990 –> 00:53:55.440

John English: Oh, cool.

571

00:53:55.950 –> 00:53:59.940

Tim Trabon: So for those of you who aren’t getting enough here.

572

00:54:01.080 –> 00:54:07.350

Tim Trabon: Really wants a hands on hands on guidance. We’ve got a class that john how many students will be in it.

573

00:54:10.080 –> 00:54:10.860

John English: Max.

574

00:54:11.250 –> 00:54:11.670

Max.

575

00:54:13.050 –> 00:54:16.500

John English: Max, I think. But do we split start splitting the class at 13

576

00:54:16.920 –> 00:54:20.520

John English: So maybe 14 students, Max, but

577

00:54:22.800 –> 00:54:23.280

John English: We’ll see.

578

00:54:25.680 –> 00:54:26.490

Tim Trabon: Sundays.

579

00:54:28.530 –> 00:54:31.110

John English: Sunday, Sunday, Sunday. Yeah.

580

00:54:31.740 –> 00:54:34.350

George Pratt: You’ll pay for the whole seat, but you only use half

581

00:54:44.760 –> 00:54:57.210

John English: And when I when I teach in that classes, the way we, the way we draw at the Academy or it was my father’s technique of teaching students simplification, how to see

582

00:54:58.380 –> 00:55:03.330

John English: The silhouette. How to see the silhouette of the figure drawing the whole figure at one time.

583

00:55:04.410 –> 00:55:05.940

John English: Pretty much how I draw everything now.

584

00:55:06.630 –> 00:55:08.490

George Pratt: It’s an amazing way of working.

585

00:55:09.120 –> 00:55:18.870

Tim Trabon: AND JOHN I think that probably some people are saying like, why would I sign up for that class. If I can just come to Thursday night drawing and

586

00:55:20.490 –> 00:55:21.120

Tim Trabon: What’s that

587

00:55:21.510 –> 00:55:23.580

George Pratt: We’re not doing that here. That’s the whole point.

588

00:55:24.270 –> 00:55:32.100

Tim Trabon: Right. Also, I mean how valuable. Do you think it is to really have that like hands on conversation.

589

00:55:33.870 –> 00:55:34.770

Tim Trabon: Where it’s not just

590

00:55:35.820 –> 00:55:43.980

Tim Trabon: What while we answered questions in the chat and stuff here. It’s, it’s not a full two way street. You know, like our mentorship courses.

591

00:55:45.180 –> 00:55:48.930

John English: It’s also aside from assignment driven. Yeah.

592

00:55:49.020 –> 00:55:53.040

John English: That’s a lot of a lot of documents lot of handouts. A lot of demonstration.

593

00:55:55.530 –> 00:55:58.650

Tim Trabon: Yes, you really want to start showing off on Thursday night.

594

00:56:38.130 –> 00:56:43.440

George Pratt: Shout out to Pam Ford in the crowd pan.

595

00:56:45.450 –> 00:56:47.040

George Pratt: Your, your piece has been mailed

596

00:56:48.480 –> 00:56:50.160

George Pratt: It’s on its way. Finally,

597

00:56:52.800 –> 00:56:54.870

John English: And then Gail calm.

598

00:56:55.230 –> 00:56:57.900

George Pratt: If she’s here yeah vs on the on the way also.

599

00:56:58.530 –> 00:57:02.130

John English: Cool Sterling mailed his to Gail today.

600

00:57:03.450 –> 00:57:06.630

John English: So I actually have a review with Gail on

601

00:57:07.800 –> 00:57:09.480

George Pratt: Monday, I think. Nice.

602

00:57:09.630 –> 00:57:11.100

John English: I’m coming up soon, sometime

603

00:57:26.400 –> 00:57:28.920

Tim Trabon: Oh, should we get moving to the next image.

604

00:57:30.030 –> 00:57:30.390

John English: Yeah.

605

00:57:33.270 –> 00:57:33.810

John English: I forgot.

606

00:57:34.470 –> 00:57:35.490

George Pratt: I forgot the black one.

607

00:57:38.520 –> 00:57:38.790

George Pratt: Hey,

608

00:57:39.900 –> 00:57:42.030

Tim Trabon: George. It’s showtime man.

609

00:57:42.450 –> 00:57:44.100

George Pratt: Okay, so hit share content.

610

00:57:47.370 –> 00:57:47.970

Tim Trabon: Let’s see what

611

00:57:51.840 –> 00:57:54.450

George Pratt: didn’t share and then I might go to

612

00:57:56.940 –> 00:57:57.720

George Pratt: procreate.

613

00:57:59.400 –> 00:57:59.940

George Pratt: Okay.

614

00:58:02.400 –> 00:58:03.750

George Pratt: And also it

615

00:58:04.830 –> 00:58:06.540

Tim Trabon: Says you are sharing screen.

616

00:58:07.050 –> 00:58:08.370

George Pratt: Yeah, I do.

617

00:58:11.130 –> 00:58:14.520

George Pratt: One girl. I’m going to play with disorder, the squiggly thing.

618

00:58:20.940 –> 00:58:24.870

George Pratt: I’m gonna try and just, I’m going to distort her a little bit. Once I get into it but

619

00:58:57.240 –> 00:58:58.650

George Pratt: Turn my screen.

620

00:59:15.150 –> 00:59:15.450

George Pratt: It’s

621

00:59:16.140 –> 00:59:18.900

George Pratt: Not as dark as it is on my screen on

622

00:59:19.980 –> 00:59:20.940

George Pratt: The larger screen.

623

00:59:22.320 –> 00:59:23.730

Tim Trabon: That’s right, just display down

624

00:59:26.610 –> 00:59:27.030

Good that

625

00:59:28.140 –> 00:59:29.160

Tim Trabon: I bet you’re using a

626

00:59:30.510 –> 00:59:31.980

Tim Trabon: Really nice iPad Pro.

627

00:59:32.610 –> 00:59:33.990

Yeah yeah

628

00:59:36.090 –> 00:59:38.250

Tim Trabon: I would trust the iPad Pros display.

629

00:59:48.180 –> 00:59:50.670

Tim Trabon: just blame it on other people’s monitor storage.

630

00:59:51.090 –> 00:59:51.600

George Pratt: There you go.

631

00:59:56.220 –> 00:59:56.520

Yeah.

632

01:00:08.700 –> 01:00:11.580

Tim Trabon: Do you feel like you can work faster in a digital George

633

01:00:13.620 –> 01:00:26.490

George Pratt: I mean it’s I think it’s all part and parcel. It’s all kind of saying, you know, um, but what’s fun about the digital is being able to, you know, take this and then distort the heck out of her with

634

01:00:28.080 –> 01:00:28.560

George Pratt: You know the

635

01:00:29.790 –> 01:00:32.370

George Pratt: The store source feature in there.

636

01:00:33.780 –> 01:00:35.220

George Pratt: And play with that a little bit.

637

01:00:38.340 –> 01:00:42.420

George Pratt: But, uh, what I like about the scribble thing is that it’s not. It’s non

638

01:00:43.530 –> 01:00:45.810

George Pratt: Specific like I can just sit and just

639

01:00:47.040 –> 01:00:53.970

George Pratt: You know, just scribble and then and then it just keep building on it, you know.

640

01:00:59.490 –> 01:01:08.310

George Pratt: Just, just keep layering and it’s something that I’ve done another traditionally in my sketchbooks and then if I come in and

641

01:01:11.460 –> 01:01:24.150

George Pratt: And I’m not using line. Wait. In the same way, you know this. I’m not using a pressure sensitivity. I wanted to be like almost like a gel pen deadline thing. But then if I if I go grab

642

01:01:27.150 –> 01:01:27.840

George Pratt: Like white

643

01:01:29.130 –> 01:01:31.620

George Pratt: And start bringing that into it.

644

01:01:32.790 –> 01:01:33.600

George Pratt: And building up

645

01:01:34.740 –> 01:01:35.340

George Pratt: The lighting.

646

01:01:44.070 –> 01:01:46.110

George Pratt: And you just, just keep layering and it’s

647

01:01:47.400 –> 01:01:49.110

George Pratt: It’s kind of like washing the dishes, you know,

648

01:01:50.820 –> 01:01:51.720

George Pratt: Therapeutic

649

01:01:56.130 –> 01:01:59.370

George Pratt: I just like to see to see it sort of appear

650

01:02:41.430 –> 01:02:44.340

George Pratt: It’s almost like building a wireframe kind of weird.

651

01:04:39.450 –> 01:04:43.170

Tim Trabon: Our, our attendees are our turnout is is

652

01:04:45.120 –> 01:04:49.590

Tim Trabon: Getting a little bit larger. Now that I think that it’s getting darker earlier.

653

01:04:51.360 –> 01:04:53.820

Tim Trabon: In the realities of fall or setting in.

654

01:04:57.600 –> 01:04:59.340

Tim Trabon: La more people joining with us.

655

01:05:01.590 –> 01:05:01.890

John English: Right.

656

01:05:03.810 –> 01:05:04.170

Tim Trabon: Yeah.

657

01:05:08.310 –> 01:05:09.060

John English: Always good.

658

01:06:41.760 –> 01:06:42.600

Tim Trabon: Vs. Amazing.

659

01:06:43.860 –> 01:06:46.830

Tim Trabon: We need you to keep coming in so we can get appropriate sponsorship.

660

01:06:49.470 –> 01:06:50.070

George Pratt: Any fun

661

01:06:51.990 –> 01:06:56.970

George Pratt: You know, I’ve contacted them early on because I’ve been with them, since they like when they first hit

662

01:06:57.750 –> 01:06:58.260

And

663

01:06:59.460 –> 01:07:01.680

George Pratt: Never got any real response on those games.

664

01:07:02.190 –> 01:07:05.130

Tim Trabon: You know, I only received one response and

665

01:07:06.600 –> 01:07:09.180

Tim Trabon: They’re not so keen on process.

666

01:07:11.070 –> 01:07:17.640

Tim Trabon: They, they just were like, we don’t care about. We don’t they were on the early interested in, like, really finished work.

667

01:07:18.360 –> 01:07:18.840

Yeah.

668

01:07:22.440 –> 01:07:25.830

John English: Yeah, I think, because most people use it for process.

669

01:07:27.840 –> 01:07:31.200

John English: And they were trying to, they were trying to get the other side so they could compete.

670

01:07:32.100 –> 01:07:34.470

Tim Trabon: Was like learn to love yourself recreate

671

01:07:36.870 –> 01:07:43.380

George Pratt: It really is my it’s i love it because it just gets out of the way. You know, it just lets me draw and have fun.

672

01:07:43.890 –> 01:07:47.490

George Pratt: Yeah, and it’s so easy to build your own brushes.

673

01:07:49.830 –> 01:07:50.820

George Pratt: We’re whereas like

674

01:07:53.400 –> 01:07:59.340

George Pratt: When I get on Photoshop. I just feel like I’m bringing a neutron bomb to to a pumpkin war, you know,

675

01:08:00.120 –> 01:08:13.320

George Pratt: And it drives me nuts. It’s like digging through all this stuff just to do something simple and it just, oh my god, it’s so infuriating. To me, I just want to have fun drawing you know in this just gets out of the way.

676

01:08:26.250 –> 01:08:31.860

Montalvo Machado: Maybe the procreate guys didn’t realize yet that the process is something that sells the product.

677

01:08:33.300 –> 01:08:34.140

George Pratt: Yeah, I mean it.

678

01:08:36.210 –> 01:08:36.930

Tim Trabon: Sponsors

679

01:08:39.750 –> 01:08:41.250

Tim Trabon: Teasing, teasing.

680

01:08:42.840 –> 01:08:43.860

Tim Trabon: I was just

681

01:08:44.100 –> 01:08:45.630

Montalvo Machado: Just need a name on the number

682

01:08:45.810 –> 01:08:46.380

Montalvo Machado: I’ll call it

683

01:08:48.060 –> 01:08:49.920

Montalvo Machado: Loose, they don’t know me.

684

01:08:50.880 –> 01:08:52.290

Tim Trabon: Yeah, no, I’m teasing.

685

01:08:53.970 –> 01:08:57.390

Tim Trabon: Yeah, no, I mean, anyways, I was a little disappointed.

686

01:09:00.840 –> 01:09:06.510

George Pratt: Because I thought for some reason that y’all had actually gotten something going with them at one point.

687

01:09:08.790 –> 01:09:09.210

Tim Trabon: Um,

688

01:09:11.730 –> 01:09:12.780

Tim Trabon: It was, uh,

689

01:09:15.630 –> 01:09:19.770

Tim Trabon: Yeah, something like that. It wasn’t ever really a deep relationship, though.

690

01:09:20.220 –> 01:09:20.610

Yeah.

691

01:09:21.780 –> 01:09:24.090

Tim Trabon: Now at your. Are you familiar vecher

692

01:09:25.170 –> 01:09:30.750

George Pratt: Yeah, vaguely I’ve seen like they’re, they now they’re even selling watercolors and stuff.

693

01:09:31.380 –> 01:09:37.380

Tim Trabon: I saw that they’re really cool company, they’re out of Australia. And we’ve, we’ve done a lot of stuff with that.

694

01:09:38.790 –> 01:09:41.490

Tim Trabon: It just in terms of they’ve sent us

695

01:09:42.960 –> 01:09:49.950

Tim Trabon: Some of their cool some of their cool like like little bags and stuff. Just to give away and give to artists. We work with

696

01:09:50.460 –> 01:09:53.100

Tim Trabon: Yeah, love Azure highly recommended.

697

01:09:57.990 –> 01:10:00.720

Tim Trabon: We have like a plane air kit.

698

01:10:03.510 –> 01:10:03.930

George Pratt: Yeah.

699

01:10:42.660 –> 01:10:45.750

John English: This model has such an interesting face and just

700

01:10:47.100 –> 01:10:47.460

George Pratt: Yeah.

701

01:10:50.100 –> 01:10:58.380

John English: I’m just now getting my drawing set up enough that I can start drawing this you know and I know I’m not gonna have time to get it the way I want it, but

702

01:11:12.720 –> 01:11:13.740

John English: Oh my gosh, George, you just

703

01:11:15.510 –> 01:11:16.500

John English: Turn my camera on.

704

01:11:21.420 –> 01:11:22.260

Bill Koeb: That’s cool.

705

01:14:01.440 –> 01:14:10.440

Montalvo Machado: JOHN I was just remembering first time we met when you when you went to the airport and pick me up there was Scott Anderson there.

706

01:14:11.760 –> 01:14:12.210

John English: Oh, yeah.

707

01:14:12.780 –> 01:14:23.250

Montalvo Machado: Yeah. And on the way we were just talking about, you know, the expectations and stuff and you look at me and he said, you will be overwhelmed.

708

01:14:25.170 –> 01:14:27.600

Montalvo Machado: And never forget that is it. And I really was.

709

01:14:31.260 –> 01:14:32.700

Montalvo Machado: Much more than expected.

710

01:14:34.620 –> 01:14:36.150

John English: I was just trying to intimidate you.

711

01:14:39.060 –> 01:14:43.350

Montalvo Machado: Well, it actually didn’t do just, you know, stood me up.

712

01:16:25.920 –> 01:16:26.400

Bill Koeb: Good job.

713

01:16:31.980 –> 01:16:33.420

Bill Koeb: How much the drawing courses.

714

01:16:38.880 –> 01:16:41.760

John English: 599 i think i think it is 599

715

01:16:49.260 –> 01:16:52.170

Bill Koeb: And then Dale asked how George is sharing his iPad.

716

01:16:55.410 –> 01:17:03.900

George Pratt: I just said it to share, share the desktop of the iPad and then then switched over to

717

01:17:06.090 –> 01:17:06.810

George Pratt: procreate.

718

01:18:09.990 –> 01:18:10.320

George Pratt: Yeah.

719

01:18:10.950 –> 01:18:12.270

John English: He deserves a little tech

720

01:18:25.470 –> 01:18:29.430

Bill Koeb: Don Rogers is asking, is that the same paper using at the Academy

721

01:18:30.540 –> 01:18:31.560

John English: Yes.

722

01:18:39.150 –> 01:18:41.760

Bill Koeb: Are you using new pesto. So I answered that part for you.

723

01:18:43.980 –> 01:18:44.550

John English: Thank you know

724

01:18:47.700 –> 01:18:50.580

John English: You can make whatever you want to make up tell them, whatever you want.

725

01:18:51.210 –> 01:18:55.200

Bill Koeb: That’s what I did when I was at the Academy. When I had to keep everybody busy for

726

01:18:55.530 –> 01:18:59.460

John English: I remember that we were late getting their first. It’s actually the first day.

727

01:19:01.560 –> 01:19:07.650

John English: I was picking somebody up at the airport and I got, I was late and I came in and Bill was running the show.

728

01:19:08.730 –> 01:19:09.330

John English: Control.

729

01:19:10.650 –> 01:19:12.360

John English: I was so happy. He was

730

01:19:17.730 –> 01:19:20.640

Bill Koeb: I just felt that I figured, somebody better start this thing.

731

01:19:22.380 –> 01:19:25.590

Bill Koeb: Yeah, I was the only teacher in the room. So I think it was on me.

732

01:19:30.570 –> 01:19:31.650

John English: I remember that well.

733

01:19:35.190 –> 01:19:36.750

Bill Koeb: I just remember my son.

734

01:19:38.820 –> 01:19:44.010

Bill Koeb: Deciding after watching Wesley bird that he wanted to be a concept artist.

735

01:19:46.470 –> 01:19:49.020

Bill Koeb: And I think that lasted for a couple months.

736

01:19:49.560 –> 01:19:50.010

Yeah.

737

01:19:51.780 –> 01:19:54.390

Bill Koeb: Nothing to do with, you know, having me you’re

738

01:20:00.150 –> 01:20:02.730

Montalvo Machado: Talking about kids. It was funny because

739

01:20:04.440 –> 01:20:19.770

Montalvo Machado: My son, he just grew up watching the draw. And, you know, doing my stuff. And that was natural for him. Just like that. He draws. Right. Well, then he he grows up he’s about to turn 19 now.

740

01:20:20.790 –> 01:20:30.270

Montalvo Machado: And it was a couple of years ago that a few friends of his they were studying 3D and you know out of the FX school here in San Paulo.

741

01:20:31.320 –> 01:20:36.600

Montalvo Machado: And and then it hit him just like, hey, my father can do that.

742

01:20:37.920 –> 01:20:49.680

Montalvo Machado: And he went to a presentation that I that I gave at the school there was teaching and then was the first time that he saw me as you know as an instructor, as someone else.

743

01:20:50.340 –> 01:21:00.660

Montalvo Machado: Right, I was just talking for a half one and a half hour there and talking about color theory and stuff. And then he comes to me at the end and looks at me and he says that

744

01:21:02.100 –> 01:21:04.050

Montalvo Machado: I just didn’t know that side of you.

745

01:21:04.410 –> 01:21:04.710

That

746

01:21:05.730 –> 01:21:07.170

Montalvo Machado: I didn’t know that well.

747

01:21:08.640 –> 01:21:14.550

Montalvo Machado: And people are just gathering around and talking and it’s just like, you know, micro celebrity, they’re

748

01:21:15.630 –> 01:21:31.350

Montalvo Machado: Like 200 people in the house. And he was so impressed by that. And then he comes back to me a few months later and said, I want to, I want to get into the business and I want to learn with you.

749

01:21:32.700 –> 01:21:39.330

Montalvo Machado: And he said that at certain point, he was just talking to me and talking about Photoshop and stuff. Is it. I want to be your best students

750

01:21:40.410 –> 01:21:41.640

Montalvo Machado: That’s when it hit me.

751

01:21:41.760 –> 01:21:42.390

George Pratt: That’s cool.

752

01:21:42.810 –> 01:21:43.560

Bill Koeb: That’s very good.

753

01:21:43.800 –> 01:21:44.970

Montalvo Machado: You know, you know,

754

01:21:45.990 –> 01:21:50.700

Montalvo Machado: Having to hold the tears in the eyes just like looking at him was just

755

01:21:52.020 –> 01:21:53.640

Montalvo Machado: So you want to be my best students

756

01:21:54.480 –> 01:21:55.560

Montalvo Machado: I want to be your best teacher

757

01:21:56.910 –> 01:21:57.780

John English: My Cabo

758

01:21:59.010 –> 01:22:00.570

John English: Did you try to talk him out of it.

759

01:22:03.120 –> 01:22:17.580

Montalvo Machado: Actually, that’s, that’s something that I would never do because I wanted him to be, you know, in a field that I could just help him out because he if he would go, you know, to medicine or law school or something like that.

760

01:22:18.690 –> 01:22:21.510

Montalvo Machado: Could never given any kind of advice ever

761

01:22:22.530 –> 01:22:23.970

Montalvo Machado: Just cheer him up, but

762

01:22:25.560 –> 01:22:36.930

Montalvo Machado: But I’ll never be able to give them some advice and the that same field. I say, well, that’s so cool because there’s something that I can still teach you along the way.

763

01:22:38.130 –> 01:22:58.020

Montalvo Machado: And he’s he’s doing fine is getting into 3D and studying Maya and you know all those kind of tax rate partner programs and that’s. It’s very cool. He’s not into drawing as much as I am, but he’s getting technical and he’s got a good eye for movies and stuff.

764

01:23:00.120 –> 01:23:00.570

George Pratt: Yeah.

765

01:23:00.870 –> 01:23:05.670

John English: Good, good for you. I, I, I was kind of joking when I said that because

766

01:23:06.690 –> 01:23:10.470

John English: That was my, my dad’s biggest fear that I was going to be a really bad artist.

767

01:23:13.080 –> 01:23:15.480

John English: And I think he may have lived it for a long time.

768

01:23:22.080 –> 01:23:31.350

John English: He was real worried, and he was also really i mean he understood how the success that he had and what kind of an impact it would have on me.

769

01:23:32.670 –> 01:23:41.070

Montalvo Machado: As a child, just I can’t imagine how it was for you to grow up with us, you know, monster illustrators.

770

01:23:41.190 –> 01:23:42.000

Montalvo Machado: For your whole life.

771

01:23:42.420 –> 01:23:42.870

Yeah.

772

01:23:43.980 –> 01:23:46.020

Montalvo Machado: How. How. Wouldn’t you be enforced.

773

01:23:47.160 –> 01:24:02.190

John English: He was really good about it. I mean, he you know he told him the fun, funny thing is, when I finally convinced him. I wanted to do it and I he believed I could do it at that point he, he said, okay, quit school because now you got to start learning

774

01:24:05.670 –> 01:24:11.040

John English: Because you said you’re having way too much on at school right now you need to you need to leave.

775

01:24:12.480 –> 01:24:14.310

It there you can focus. Yeah.

776

01:24:18.120 –> 01:24:20.670

Montalvo Machado: HOW OLD WERE YOU, JOHN when when they did the

777

01:24:22.770 –> 01:24:24.570

Montalvo Machado: Status workshop for the first time.

778

01:24:26.550 –> 01:24:27.660

John English: I think I was 12

779

01:24:28.440 –> 01:24:28.890

Wow.

780

01:24:30.600 –> 01:24:45.180

John English: I went to it a couple of different times. The first time I went to. I went and I kind of visited when I was about 17 and I actually attended it when I was 19 and it was a great experience. Plus, it was in Paris. So it was really nice.

781

01:24:46.140 –> 01:24:46.170

I

782

01:24:47.790 –> 01:24:50.580

John English: Got to spend five weeks in Paris, so that was fun.

783

01:24:52.980 –> 01:24:53.850

Montalvo Machado: With those guys.

784

01:24:54.720 –> 01:24:55.200

Yeah.

785

01:24:58.140 –> 01:25:00.270

George Pratt: You’d be pulling pranks on each other and peers.

786

01:25:03.960 –> 01:25:09.660

John English: Necessarily remember anything about that, but they certainly did it every day of their lives. I was a big

787

01:25:11.280 –> 01:25:14.610

John English: It picked on each other all the time, had a lot of fun.

788

01:25:15.630 –> 01:25:18.720

Tim Trabon: Done. Was it. Were you telling me the story about

789

01:25:20.130 –> 01:25:22.710

Tim Trabon: It was like the tiles in someone’s backyard.

790

01:25:24.090 –> 01:25:24.930

George Pratt: By the pool.

791

01:25:25.500 –> 01:25:26.790

John English: Bernie Fuchs is pool.

792

01:25:27.990 –> 01:25:36.210

John English: Bernie of just like super possessed, he was putting this pool in his in his backyard having it installed and he had the

793

01:25:37.770 –> 01:25:46.980

John English: He was so being hired. I mean, he had a purchase all this. I mean, gorgeous tile. They’re actually bricks and

794

01:25:51.810 –> 01:25:53.580

John English: Bernie had this long time

795

01:25:54.780 –> 01:25:57.780

John English: Guy maintenance guy that helped him around his house and stuff and

796

01:25:59.820 –> 01:26:07.140

John English: He kept asking Bernie if he wanted him to help him do this project and Bernie had the, you know, professionals guys come in that we’re doing it.

797

01:26:09.510 –> 01:26:18.660

John English: But my dad and Bob by Dale gotta be real funny after they’ve been drinking half the night to go over to Bernie south in the middle of the night and lay all this brick the wrong way.

798

01:26:22.770 –> 01:26:23.040

Tim Trabon: Good.

799

01:26:25.110 –> 01:26:34.530

John English: Bernie’s reaction was to think that it was his maintenance guy that was trying to show you know that he could do it. And he got really upset with them and then you found out

800

01:26:36.360 –> 01:26:41.970

John English: Very quickly, he found out that it was idiot friends that thought it was a fun thing to do after they’ve been drinking

801

01:26:43.470 –> 01:26:46.860

George Pratt: BUT DIDN’T THEY WOULDN’T IT LIKE HE HAD A pattern and they rotated the pattern.

802

01:26:47.040 –> 01:26:48.510

John English: Yeah, very

803

01:26:49.200 –> 01:26:57.660

John English: Bad, and he was in. He was always just on top of the guys that were laying it to make sure that they did it exactly that we have photos from this

804

01:26:59.040 –> 01:27:05.460

John English: where he’d stayed in Italy, the previous summer, and he said, this is exactly how I want it done. He was constantly all over the top.

805

01:27:06.630 –> 01:27:09.720

John English: Of course they did it completely the opposite way.

806

01:27:12.720 –> 01:27:13.560

John English: Just to annoy him.

807

01:27:15.690 –> 01:27:20.040

John English: Bernie was the target of most of their jokes. Actually he was he was very gullible.

808

01:27:24.540 –> 01:27:26.070

Tim Trabon: John are we closing in on 20

809

01:27:26.550 –> 01:27:30.330

John English: Oh yeah, we’re there we just we finished about two minutes.

810

01:27:31.620 –> 01:27:32.010

Tim Trabon: Okay.

811

01:27:35.460 –> 01:27:35.880

Bill Koeb: George

812

01:27:37.050 –> 01:27:40.320

George Pratt: I’m there. I mean, I think just sit here and scribble all night. You know, I mean,

813

01:27:40.800 –> 01:27:41.160

Tim Trabon: Yeah.

814

01:27:41.250 –> 01:27:42.150

George Pratt: That’s the beauty of it.

815

01:27:43.200 –> 01:27:43.710

Tim Trabon: Well,

816

01:27:43.740 –> 01:27:44.880

Should we check out some work.

817

01:27:45.990 –> 01:27:49.740

Tim Trabon: Please, uh, if you’ve been drawing with us tonight, please post your work.

818

01:27:51.900 –> 01:27:59.040

Tim Trabon: We’d love to see it. Be sure to use the hashtags and everything go to our Facebook group illustration isolation.

819

01:28:00.120 –> 01:28:05.490

Tim Trabon: Or posted on Instagram and use hashtag hashtag illustration isolation.

820

01:28:11.190 –> 01:28:12.570

Tim Trabon: But if everyone’s ready

821

01:28:14.190 –> 01:28:15.030

Tim Trabon: No, no, I

822

01:28:15.750 –> 01:28:17.640

John English: Don’t know if I’m ready, but go ahead.

823

01:28:18.810 –> 01:28:21.240

Tim Trabon: Yeah. All right. I’m going to give everyone

824

01:28:22.140 –> 01:28:22.590

George Pratt: I need to

825

01:28:22.740 –> 01:28:25.170

Tim Trabon: give everyone a minute to share it to

826

01:28:25.170 –> 01:28:27.960

Tim Trabon: Facebook and Instagram. Whichever pick your poison.

827

01:28:28.170 –> 01:28:33.570

Tim Trabon: General platform is more your speed. I’m going to give everybody one

828

01:28:46.350 –> 01:28:50.310

Tim Trabon: If y’all didn’t notice Dale’s define us snuck in the back door.

829

01:28:51.510 –> 01:28:52.890

Dale Stephanos: Knocking knocking.

830

01:28:53.070 –> 01:28:54.030

John English: Dale style.

831

01:28:55.530 –> 01:28:59.880

Dale Stephanos: Well, I noticed that, that to me you somehow got bunks hmm

832

01:29:00.630 –> 01:29:05.190

Tim Trabon: You bounced it yeah I did if people didn’t notice from my video.

833

01:29:06.210 –> 01:29:06.570

Tim Trabon: My

834

01:29:08.220 –> 01:29:14.640

Tim Trabon: My wife. Now my girlfriend anymore. She is. She teaches second grade. And so she has taken

835

01:29:15.030 –> 01:29:23.640

Tim Trabon: My office. And now I work and spend most of my time in a camper in my backyard.

836

01:29:27.690 –> 01:29:31.830

Tim Trabon: Was not as reliable as I anticipated. So I got booted but I’m back.

837

01:29:33.480 –> 01:29:36.060

John English: So how is the marriage thing going there.

838

01:29:37.470 –> 01:29:39.600

Bill Koeb: He’s living in a camper outside of his house.

839

01:29:43.980 –> 01:29:44.940

Dale Stephanos: Think it’s going well.

840

01:29:46.530 –> 01:29:49.320

John English: That’s almost as a van down by the river. I mean, that’s

841

01:29:49.500 –> 01:29:52.320

Tim Trabon: Yeah, there’s an RV in my backyard.

842

01:29:54.060 –> 01:30:03.720

Dale Stephanos: So yeah, so if if you know when you were a teenager, somebody said to you, Hey, you know, when you grow up, you’re going to get married and within a week, you’re going to be in a trailer in the back.

843

01:30:03.720 –> 01:30:03.900

Here.

844

01:30:06.840 –> 01:30:07.500

Montalvo Machado: No way.

845

01:30:09.540 –> 01:30:10.950

John English: Me, man. Not me.

846

01:30:10.980 –> 01:30:12.030

Tim Trabon: No, no, no.

847

01:30:17.070 –> 01:30:20.490

Tim Trabon: Oh, somebody just said, Can we see the giants from the team. Absolutely.

848

01:30:22.620 –> 01:30:25.050

Tim Trabon: Absolutely. Let me, let me show you.

849

01:30:25.260 –> 01:30:28.290

Dale Stephanos: Timmy is is there. I’m working in Photoshop here.

850

01:30:28.350 –> 01:30:33.240

Tim Trabon: This is they’re able to screen steal the screen and just share your desktop.

851

01:30:33.300 –> 01:30:38.370

Dale Stephanos: Oh, I don’t want to do that. I jumped I jumped in, but I didn’t know if there was a way for you to just kind of

852

01:30:38.910 –> 01:30:45.750

Tim Trabon: Pie can’t grab it. But if you show it. I’d love to. If it’s a if it’s something you want if you want to show us what you did be great to see it.

853

01:30:47.340 –> 01:30:52.410

Dale Stephanos: So what I do is just share, I guess. Yep. Oh. Oh, that’s nice. Who was that

854

01:30:52.770 –> 01:30:54.030

Dale Stephanos: That’s my toes are you

855

01:30:54.540 –> 01:30:56.280

Dale Stephanos: At that is awesome, man.

856

01:30:56.700 –> 01:30:57.480

Montalvo Machado: Well, thank you.

857

01:30:58.230 –> 01:30:58.380

Bill Koeb: My

858

01:30:59.130 –> 01:31:00.390

Beard envy here too.

859

01:31:01.740 –> 01:31:04.500

Bill Koeb: I don’t think you have that that nice beard, last time I saw you.

860

01:31:05.520 –> 01:31:08.550

Montalvo Machado: Well, it’s just let it grow just

861

01:31:09.570 –> 01:31:11.400

Montalvo Machado: burn time things and say, well,

862

01:31:12.480 –> 01:31:15.360

Montalvo Machado: No, I don’t have anything to lose so I let my hair grow.

863

01:31:16.500 –> 01:31:17.280

Montalvo Machado: In my beard.

864

01:31:20.550 –> 01:31:22.650

George Pratt: There’s lots of coven beards going on.

865

01:31:23.460 –> 01:31:23.970

Yeah.

866

01:31:28.080 –> 01:31:28.860

Montalvo Machado: And long hair.

867

01:31:29.340 –> 01:31:29.940

Fall.

868

01:31:39.420 –> 01:31:39.930

Tim Trabon: Okay.

869

01:31:42.480 –> 01:31:44.790

Tim Trabon: Are we ready to ready to share

870

01:31:45.390 –> 01:31:46.620

Bill Koeb: Showing the studios.

871

01:31:47.850 –> 01:31:50.400

Tim Trabon: Yeah. Are you going to try and share your screen or we move in.

872

01:31:50.970 –> 01:31:52.440

Dale Stephanos: Oh no, go, go.

873

01:31:52.770 –> 01:31:54.450

Tim Trabon: Next week next week.

874

01:31:54.600 –> 01:31:57.180

Dale Stephanos: No, no, I’ll do it. I’ll do the next, is this the last around

875

01:31:57.540 –> 01:31:58.980

Dale Stephanos: Yeah yeah

876

01:31:59.730 –> 01:32:01.230

Dale Stephanos: Ah, man.

877

01:32:01.410 –> 01:32:02.700

Tim Trabon: Yeah, sorry.

878

01:32:02.940 –> 01:32:06.540

Montalvo Machado: You guys, you guys want to see those sketchbooks and or maybe

879

01:32:06.570 –> 01:32:09.810

Tim Trabon: Oh yeah, I forgot that we promised that yeah

880

01:32:10.200 –> 01:32:11.130

Tim Trabon: Check that out.

881

01:32:11.430 –> 01:32:12.810

Montalvo Machado: Right, I’ll pick it up.

882

01:32:14.730 –> 01:32:19.140

Tim Trabon: In meantime everyone please post your work. Share your work on Facebook and Instagram.

883

01:32:21.600 –> 01:32:22.020

Montalvo Machado: Will

884

01:32:24.480 –> 01:32:32.880

Tim Trabon: Resume Montalvo tell us where you’re tuning in from in Brazil, so everybody knows we didn’t really give you a proper introduction. I know we got a lot of new people here.

885

01:32:35.880 –> 01:32:36.810

Montalvo Machado: I mean some follow

886

01:32:39.000 –> 01:32:43.680

Montalvo Machado: What kind of thing that I could say is just we’re doing

887

01:32:44.790 –> 01:32:48.150

Tim Trabon: Is you can inform your studio from home, or both.

888

01:32:48.840 –> 01:32:56.400

Montalvo Machado: Well, this, this is both. This is actually my living room. I’m talking about marriage and stuff.

889

01:32:57.660 –> 01:33:10.530

Montalvo Machado: I just got, you know, separated from my wife about a year ago and living on on an apartment. So it was struggling best moves that I’m making my life has just never felt happier before

890

01:33:11.100 –> 01:33:11.520

Yeah.

891

01:33:12.840 –> 01:33:13.560

Montalvo Machado: Yeah, don’t

892

01:33:13.620 –> 01:33:15.270

Montalvo Machado: Don’t take it as an advice, please.

893

01:33:16.920 –> 01:33:18.480

Tim Trabon: Oh, it’s

894

01:33:18.810 –> 01:33:28.230

Montalvo Machado: Been fun it’s it’s been really fun because you know I’ve been working on with a zero as digital painter there as

895

01:33:28.290 –> 01:33:29.160

Montalvo Machado: Background painter.

896

01:33:30.570 –> 01:33:38.220

Montalvo Machado: for about three years now and living in this apartment for about a year, I was used to a big studio and stuff but

897

01:33:40.260 –> 01:33:45.930

Montalvo Machado: It’s, I had to, you know, try to understand how space works.

898

01:33:47.370 –> 01:33:51.870

Montalvo Machado: And this new space. I got you know really

899

01:33:54.360 –> 01:34:16.380

Montalvo Machado: I try to get all things together in in the tiny space that I have. So I got really organized and shelves and books and things and everybody everything’s got its, its place. So whenever I finished my my drawings and stuff. I try to get back to you know things where they belong.

900

01:34:17.610 –> 01:34:20.970

Montalvo Machado: So it’s, it’s funny, it’s good.

901

01:34:24.930 –> 01:34:40.200

Montalvo Machado: Well, I’m going backwards here because there’s some new stuff that I just put an online few days ago was just some some things that I’ve been trying with with this technique that I was doing with pastels and then I go over with.

902

01:34:41.280 –> 01:34:43.650

Montalvo Machado: With the roller with

903

01:34:45.210 –> 01:34:45.990

Montalvo Machado: acrylics.

904

01:34:47.880 –> 01:34:49.320

Montalvo Machado: And and that

905

01:34:51.210 –> 01:35:02.010

Montalvo Machado: Medium. I can’t seem to find the ultimate medium here in Brazil, it’s really, really hard to get this one and expensive if I have to buy one, but I use the regular one.

906

01:35:03.300 –> 01:35:11.250

Montalvo Machado: And it gives us you know textures and, you know, small details and things that maybe just try to get

907

01:35:12.630 –> 01:35:30.270

Montalvo Machado: Here. Wow. You see, this is something that I’m really trying to get into larger paintings was been studying this for a while on on sketchbooks and collages, and things sometimes gets a little chaotic but

908

01:35:31.500 –> 01:35:43.260

Montalvo Machado: It’s such a lot of fun just to, you know, put this all together and then I get over some, some of these you know lines with

909

01:35:45.870 –> 01:35:47.700

Montalvo Machado: This wax crayons here.

910

01:35:48.930 –> 01:35:58.890

Montalvo Machado: So I’ve really never, never used it before. It’s just I have it for about 20 years now. But when I got this image finished I just

911

01:35:59.760 –> 01:36:21.750

Montalvo Machado: You know, go over it and give it some real reds and browns and highlights and blues because they just stick to the paper, they would never leave and very bright colors. So sometimes it really works. It gets gets to a nice, you know, bright colors around some muted colors.

912

01:36:23.370 –> 01:36:27.150

Montalvo Machado: So let me try to get this little bit closer, I think it would be easier.

913

01:36:28.560 –> 01:36:28.800

Yeah.

914

01:36:30.030 –> 01:36:30.780

Dale Stephanos: That’s nice.

915

01:36:31.200 –> 01:36:44.520

Montalvo Machado: Well, yeah, thank you. I was just watching The Godfather again for the fifth time just the other day is just so beautiful. And I don’t know if you’ve got has been seen the

916

01:36:45.870 –> 01:36:47.460

Montalvo Machado: Peaky Blinders series.

917

01:36:49.350 –> 01:36:53.880

Montalvo Machado: That’s so beautiful. And the story is so well told just I’m loving it.

918

01:36:55.470 –> 01:37:01.410

Montalvo Machado: And I would really compare you know Peaky Blinders at a certain level to

919

01:37:02.910 –> 01:37:04.380

Montalvo Machado: The Godfather series.

920

01:37:06.300 –> 01:37:08.910

Montalvo Machado: This is like they’re not Italian there is right.

921

01:37:11.100 –> 01:37:14.430

Montalvo Machado: But it’s it’s really really well done.

922

01:37:19.380 –> 01:37:20.400

John English: Okay, without me.

923

01:37:22.140 –> 01:37:22.590

Dale Stephanos: Wow.

924

01:37:22.890 –> 01:37:23.280

Tim Trabon: Oh,

925

01:37:23.460 –> 01:37:26.790

Tim Trabon: Don’t there. The The Godfather versus Peaky Blinders

926

01:37:26.850 –> 01:37:27.240

Yeah.

927

01:37:29.010 –> 01:37:30.900

Tim Trabon: cinematically or culturally

928

01:37:33.990 –> 01:37:34.410

Tim Trabon: Yeah.

929

01:37:35.790 –> 01:37:38.040

Tim Trabon: I’m Italian. I Sicilian

930

01:37:38.490 –> 01:37:39.570

Tim Trabon: Actually so

931

01:37:40.050 –> 01:37:42.840

Tim Trabon: And I’m fine with it, honestly.

932

01:37:45.270 –> 01:37:45.960

Montalvo Machado: I think

933

01:37:46.830 –> 01:37:48.060

Tim Trabon: Write the story here.

934

01:37:49.140 –> 01:37:51.030

Montalvo Machado: Oh, there, there goes see right on here.

935

01:37:51.870 –> 01:37:52.860

Dale Stephanos: Oh, nice. I

936

01:37:53.040 –> 01:37:55.380

Montalvo Machado: Love it, love him so much.

937

01:37:56.850 –> 01:38:08.520

Montalvo Machado: There was a time that was just writing lettering for people that are really influential to me somehow, and I should have, you know, this keep going that way.

938

01:38:10.830 –> 01:38:17.580

Dale Stephanos: Did you ever hear from Brad home. They had a great story about painting that that couldn’t stand the weather album cover.

939

01:38:19.890 –> 01:38:23.460

Dale Stephanos: He posted on his blog drug or a few years ago.

940

01:38:24.810 –> 01:38:25.380

John English: Never heard it.

941

01:38:26.040 –> 01:38:26.280

Oh,

942

01:38:27.540 –> 01:38:28.230

Dale Stephanos: Really cool.

943

01:38:31.230 –> 01:38:39.150

Tim Trabon: Talking about really good series john is scaring me way for us to watch the next episode of Fargo.

944

01:38:40.560 –> 01:38:41.970

Montalvo Machado: Fargo that’s

945

01:38:42.600 –> 01:38:44.310

Tim Trabon: Not so good. I can’t recommend

946

01:38:46.650 –> 01:38:48.960

George Pratt: Watching raised by wolves.

947

01:38:49.860 –> 01:38:51.060

Tim Trabon: So no

948

01:38:52.020 –> 01:38:52.740

George Pratt: I’m enjoying it.

949

01:38:54.300 –> 01:38:54.780

Tim Trabon: All right.

950

01:38:55.470 –> 01:39:04.200

Tim Trabon: This is, this is great. It’s all about should we um Montalvo please share photos of this to the Facebook group. I know a lot of people want to see it. Should we

951

01:39:05.610 –> 01:39:08.730

Tim Trabon: Should we check out the what everybody’s been working on tonight.

952

01:39:09.840 –> 01:39:10.200

Montalvo Machado: Oh, yeah.

953

01:39:10.350 –> 01:39:11.790

John English: Yes, bounce around the room.

954

01:39:12.180 –> 01:39:12.600

John English: Yeah.

955

01:39:12.840 –> 01:39:16.860

John English: Our last pose. And then we can look on. Look at everybody else.

956

01:39:17.460 –> 01:39:20.640

Montalvo Machado: Well, I got this one here first.

957

01:39:23.790 –> 01:39:26.790

And the second one is, wow.

958

01:39:31.560 –> 01:39:32.220

Montalvo Machado: Just

959

01:39:34.650 –> 01:39:35.220

Tim Trabon: Wow.

960

01:39:38.520 –> 01:39:39.210

Dale Stephanos: was great.

961

01:39:41.670 –> 01:39:42.180

Montalvo Machado: Thank you.

962

01:39:43.200 –> 01:39:44.310

Tim Trabon: All right, I’m gonna

963

01:39:45.810 –> 01:39:48.150

Tim Trabon: While everyone’s here and then we’ll

964

01:39:49.620 –> 01:39:50.640

Tim Trabon: Begin sharing

965

01:39:57.090 –> 01:39:58.380

Montalvo Machado: What’s on your minds me

966

01:40:04.020 –> 01:40:06.120

Bill Koeb: I can see your home setup. That’s cool, man.

967

01:40:08.010 –> 01:40:09.810

Montalvo Machado: Well, thank you. Thanks, Bill.

968

01:40:10.200 –> 01:40:12.600

Bill Koeb: I think I could do that with a desk arm land to

969

01:40:15.540 –> 01:40:27.870

Montalvo Machado: Yeah, this thing is struggling not expensive. It’s just an arm for microphone and I adapted it you know just screwing things up and just it

970

01:40:28.320 –> 01:40:28.800

Montalvo Machado: Ended up

971

01:40:28.890 –> 01:40:30.000

Montalvo Machado: Being very solid

972

01:40:31.590 –> 01:40:33.420

Tim Trabon: This works great. I love it.

973

01:40:36.420 –> 01:40:40.470

Tim Trabon: some familiar faces awesome Ilana. See ya.

974

01:40:40.890 –> 01:40:41.580

John English: Very cool.

975

01:40:42.450 –> 01:40:42.840

Yeah.

976

01:40:48.180 –> 01:40:48.630

Wow.

977

01:40:49.920 –> 01:40:51.690

Bill Koeb: Those are beautiful well

978

01:40:53.130 –> 01:40:53.460

Montalvo Machado: Well,

979

01:40:57.690 –> 01:40:58.410

Montalvo Machado: both coasts.

980

01:40:58.710 –> 01:41:01.230

Tim Trabon: First image. Awesome. Thanks for joining.

981

01:41:05.580 –> 01:41:06.030

Us.

982

01:41:15.690 –> 01:41:15.990

Bill Koeb: Cool.

983

01:41:19.470 –> 01:41:20.280

Tim Trabon: Awesome cherry.

984

01:41:32.520 –> 01:41:32.970

Tim Trabon: Awesome.

985

01:41:40.380 –> 01:41:41.130

Tim Trabon: Do you guys feel like

986

01:41:42.240 –> 01:41:47.400

Tim Trabon: The general skill is getting better. Since the beginning of quarantine,

987

01:41:49.110 –> 01:41:49.680

Dale Stephanos: That’s great.

988

01:41:50.220 –> 01:41:50.580

Yes.

989

01:41:53.070 –> 01:41:54.810

John English: Are you referring to us or the audience.

990

01:41:54.840 –> 01:41:55.710

Dale Stephanos: Yeah, I was gonna say

991

01:41:55.980 –> 01:41:58.290

Tim Trabon: I was gonna say everyone because

992

01:41:59.970 –> 01:42:00.450

Tim Trabon: I mean,

993

01:42:01.680 –> 01:42:06.630

Tim Trabon: A lot of people been religious about attending every single one.

994

01:42:09.390 –> 01:42:16.260

Montalvo Machado: I think having a lot of fun, you know, trying to find out different techniques and combining things and trying to be like

995

01:42:17.580 –> 01:42:19.650

Montalvo Machado: Doing some chemistry on on the stuff

996

01:42:21.900 –> 01:42:27.990

Montalvo Machado: I don’t know if it’s, you know, improving. Actually, it was just, I’m having some some fun and

997

01:42:28.050 –> 01:42:29.490

Montalvo Machado: And having some plans of

998

01:42:29.790 –> 01:42:31.500

Montalvo Machado: This and larger scales, maybe

999

01:42:40.080 –> 01:42:40.590

Montalvo Machado: One.

1000

01:43:09.000 –> 01:43:09.630

Tim Trabon: Senior

1001

01:43:22.890 –> 01:43:23.100

Kool

1002

01:43:28.590 –> 01:43:28.980

Tim Trabon: Kool

1003

01:43:29.820 –> 01:43:30.180

Aid.

1004

01:43:35.820 –> 01:43:38.190

Tim Trabon: Yeah, I didn’t, I didn’t get along that’s free cash.

1005

01:43:40.320 –> 01:43:42.150

Tim Trabon: Fun. Cool. Sherry.

1006

01:43:42.420 –> 01:43:43.110

This one.

1007

01:44:17.580 –> 01:44:19.650

Montalvo Machado: People’s been working on you.

1008

01:44:19.860 –> 01:44:20.430

Tim Trabon: All right.

1009

01:44:20.760 –> 01:44:22.380

Bill Koeb: Yeah, nice one.

1010

01:44:25.500 –> 01:44:26.100

Tim Trabon: Nice.

1011

01:44:30.720 –> 01:44:33.510

Montalvo Machado: How many people we have joining us tonight to me.

1012

01:44:34.470 –> 01:44:38.400

Tim Trabon: Yeah changes because a lot of people show up for a couple poses and so

1013

01:44:39.960 –> 01:44:43.710

Tim Trabon: It can, it can get in there are several hundreds

1014

01:44:45.750 –> 01:44:49.110

Tim Trabon: But, uh, yeah. You never really know until the next day.

1015

01:44:49.770 –> 01:44:50.190

Montalvo Machado: Oh, yeah.

1016

01:44:52.230 –> 01:44:53.970

Tim Trabon: Awesome felicity to have you back.

1017

01:44:56.100 –> 01:45:00.780

Tim Trabon: My mom’s here sometimes Montalvo. It’s just all of our moms attendee

1018

01:45:04.260 –> 01:45:04.770

Montalvo Machado: Anymore.

1019

01:45:05.010 –> 01:45:05.580

Montalvo Machado: Yeah, let

1020

01:45:05.850 –> 01:45:07.320

Montalvo Machado: Me have my girlfriend just

1021

01:45:07.710 –> 01:45:10.620

Tim Trabon: Zachary family, family and friends.

1022

01:45:11.220 –> 01:45:11.730

Montalvo Machado: Oh, yeah.

1023

01:45:12.480 –> 01:45:14.370

Tim Trabon: Cool procreate. That’s great.

1024

01:45:25.530 –> 01:45:26.370

John English: I can’t see.

1025

01:45:29.310 –> 01:45:30.510

My eyes have quit.

1026

01:45:33.000 –> 01:45:34.410

Tim Trabon: I’m in this same boat.

1027

01:45:35.760 –> 01:45:36.420

Tim Trabon: Is great.

1028

01:45:39.750 –> 01:45:41.910

Tim Trabon: John HOW MANY REVIEWS, did you do today.

1029

01:45:42.810 –> 01:45:43.530

Six.

1030

01:45:45.900 –> 01:45:49.290

Tim Trabon: And those are no light fee that’s there.

1031

01:45:49.320 –> 01:45:53.520

John English: And our last one I did for about an hour and 10 minutes

1032

01:45:54.690 –> 01:46:02.610

John English: Ago, for a long time. Some really incredibly good good students, good. Perfect. A couple real pros.

1033

01:46:03.000 –> 01:46:04.530

Tim Trabon: How much that cost them.

1034

01:46:06.480 –> 01:46:07.020

Tim Trabon: To meet with

1035

01:46:07.050 –> 01:46:08.400

John English: How much does it cost me

1036

01:46:11.340 –> 01:46:12.780

John English: It didn’t cost them anything.

1037

01:46:13.230 –> 01:46:15.480

Tim Trabon: Yeah, it’s free. That’s all I’m trying to highlight

1038

01:46:17.100 –> 01:46:18.060

Tim Trabon: It’s totally free.

1039

01:46:18.990 –> 01:46:23.070

Dale Stephanos: I’m drawing them on the mailing list and I was considering having a having a

1040

01:46:23.100 –> 01:46:24.360

John English: Portfolio. Wait.

1041

01:46:27.540 –> 01:46:29.730

Bill Koeb: But every time I see the email.

1042

01:46:31.110 –> 01:46:34.140

John English: I can’t wait. If any of you Joker sign up for it.

1043

01:46:36.000 –> 01:46:37.110

John English: Everything I say

1044

01:46:39.360 –> 01:46:39.720

Tim Trabon: Yeah.

1045

01:46:40.620 –> 01:46:41.610

Dale Stephanos: Nothing else.

1046

01:46:42.720 –> 01:46:43.440

Tim Trabon: You’re awesome.

1047

01:46:46.890 –> 01:46:48.090

John English: Musician Dale.

1048

01:46:53.550 –> 01:46:54.660

Tim Trabon: I lift these back

1049

01:46:58.080 –> 01:47:01.020

Montalvo Machado: You said something about needing the drummer see me. Yeah.

1050

01:47:01.920 –> 01:47:02.520

Yeah.

1051

01:47:05.580 –> 01:47:07.980

Tim Trabon: THAT BE JOKING in

1052

01:47:08.670 –> 01:47:09.270

Montalvo Machado: Brands body.

1053

01:47:10.620 –> 01:47:13.110

Tim Trabon: Yeah. Occasionally, we’ve gotten to a point where it’s like

1054

01:47:13.140 –> 01:47:15.810

Tim Trabon: Maybe we need to pluck somebody from the audience.

1055

01:47:18.360 –> 01:47:22.500

Tim Trabon: When things get started and now our artists show up late.

1056

01:47:27.090 –> 01:47:27.480

Wow.

1057

01:47:29.340 –> 01:47:36.990

Montalvo Machado: So many musicians that are playing in isolation to just like we’re doing with drawing, they’re doing with music. Yeah.

1058

01:47:37.620 –> 01:47:38.190

Dale Stephanos: Pretty amazing.

1059

01:47:40.200 –> 01:47:46.740

Dale Stephanos: Yo Yo Ma has been traveling around on a on a trailer flatbed doing shows and Massachusetts

1060

01:47:48.330 –> 01:47:49.020

John English: If you see him.

1061

01:47:50.100 –> 01:48:04.830

Dale Stephanos: Now know I know someone who got seeing him who had just happened to see him, though, and I was like it. We were just having lunch in the closet and suddenly this flatbed pulls up and it’s like, and I’m like, to my buddy. That looks like Yo Yo Ma.

1062

01:48:06.960 –> 01:48:07.710

Montalvo Machado: It was it in

1063

01:48:08.430 –> 01:48:09.180

Dale Stephanos: Yeah, once

1064

01:48:09.600 –> 01:48:11.520

Dale Stephanos: Oh geez. Yeah, yeah, yeah.

1065

01:48:12.540 –> 01:48:13.050

Dale Stephanos: Amazing.

1066

01:48:16.890 –> 01:48:22.500

Dale Stephanos: You know, a piano player. I forget who the penis was that’s I should have my musician carrbridge oh

1067

01:48:24.990 –> 01:48:27.990

Tim Trabon: Yeah, I was in, I think I was in

1068

01:48:29.640 –> 01:48:35.490

Tim Trabon: Like SOHO Deanna and we were walking down the street and I said we were

1069

01:48:35.550 –> 01:48:36.300

Tim Trabon: Approaching

1070

01:48:36.390 –> 01:48:48.420

Tim Trabon: I got we’re about to walk past a person and I was like that’s will I am and Jana goes at like almost as you’re walking by. She goes, wow, he looks just like will I am. I was like, no, that is will I am

1071

01:48:53.010 –> 01:48:53.460

Tim Trabon: Yeah.

1072

01:48:54.390 –> 01:48:56.790

Dale Stephanos: There was in the 80s.

1073

01:49:00.420 –> 01:49:12.330

Dale Stephanos: I was in a band with a with a friend who live in a cool was moving from New York, and we met down there and moving people in the village, and we’re walking. I don’t know if anybody knows jazz here but

1074

01:49:13.530 –> 01:49:14.100

Dale Stephanos: Lover.

1075

01:49:14.580 –> 01:49:30.240

Dale Stephanos: We’re walking like just in the corner Bleecker Street and there’s this dude panhandling skinny dude and my buddy throw some five bucks. And I was like, wow, you’re generous. He’s like, yeah, that’s my buddy Jocko it’s

1076

01:49:30.390 –> 01:49:33.330

Dale Stephanos: What yeah it was Jocko Pistorius he was

1077

01:49:34.860 –> 01:49:37.590

Dale Stephanos: Yeah, he was like, totally strung out

1078

01:49:39.270 –> 01:49:47.910

Dale Stephanos: Homeless panhandling and I turn around. I’m like, that’s one of the the all time, you know, jazz legends and

1079

01:49:49.020 –> 01:49:49.800

Dale Stephanos: Boy.

1080

01:49:50.940 –> 01:49:51.870

Dale Stephanos: Okay, and he was in

1081

01:49:51.900 –> 01:49:52.680

Montalvo Machado: That situation.

1082

01:49:54.540 –> 01:49:55.110

Tim Trabon: Wow.

1083

01:49:55.500 –> 01:49:57.240

Dale Stephanos: Yeah, that’s my bummer story.

1084

01:49:59.970 –> 01:50:02.970

Tim Trabon: Wouldn’t be it wouldn’t be no Australian isolation. Right.

1085

01:50:04.080 –> 01:50:04.650

Tim Trabon: Now,

1086

01:50:08.010 –> 01:50:08.880

Tim Trabon: This is great.

1087

01:50:09.240 –> 01:50:09.870

That’s cool.

1088

01:50:12.420 –> 01:50:14.670

Tim Trabon: Oh, a couple people are posting them in groups. This is great.

1089

01:50:16.650 –> 01:50:17.070

Tim Trabon: Awesome.

1090

01:50:17.370 –> 01:50:17.910

Montalvo Machado: No.

1091

01:50:18.540 –> 01:50:21.870

Tim Trabon: That’s cool. Yeah, okay.

1092

01:50:26.430 –> 01:50:27.870

Tim Trabon: Oh, these are all right.

1093

01:50:33.570 –> 01:50:33.840

Bill Koeb: Yeah.

1094

01:50:35.190 –> 01:50:35.640

Tim Trabon: Yeah.

1095

01:50:35.790 –> 01:50:37.770

Bill Koeb: Good job, okay for me.

1096

01:50:38.100 –> 01:50:40.350

Tim Trabon: You know, if you just keep coming to these things.

1097

01:50:40.740 –> 01:50:42.270

Dale Stephanos: Line up for portfolio review.

1098

01:50:43.290 –> 01:50:45.060

Tim Trabon: Yeah, this is great.

1099

01:50:45.240 –> 01:50:47.160

Bill Koeb: LAUGH I’ll be there next week.

1100

01:50:49.680 –> 01:50:50.490

John English: So I

1101

01:50:53.490 –> 01:50:54.240

Tim Trabon: You’re awesome.

1102

01:50:54.600 –> 01:50:55.350

Bill Koeb: That’s nice.

1103

01:50:56.460 –> 01:50:58.410

Bill Koeb: Brian’s got some demos on his

1104

01:51:00.150 –> 01:51:02.100

Bill Koeb: Instagram, which are really cool.

1105

01:51:05.070 –> 01:51:07.320

Bill Koeb: Just to watch his process. Yeah.

1106

01:51:08.490 –> 01:51:10.380

Montalvo Machado: very recognizable style. Right.

1107

01:51:10.800 –> 01:51:11.220

Yeah.

1108

01:51:12.930 –> 01:51:13.290

Tim Trabon: Cool.

1109

01:51:18.330 –> 01:51:18.780

Nice.

1110

01:51:23.940 –> 01:51:25.950

Bill Koeb: Yeah, absolutely. I mean, it’s really distinctive

1111

01:51:42.750 –> 01:51:51.600

Montalvo Machado: Think it’s such a great idea. You got john just and you guys everyone to have this and we could

1112

01:51:53.100 –> 01:52:08.070

Montalvo Machado: See different styles on the same resources, the same subject. This is so cool to see how people react to, you know, the semi semi input and how did they put it back on paper or digital whatever

1113

01:52:09.540 –> 01:52:10.710

Montalvo Machado: Just really cool.

1114

01:52:13.770 –> 01:52:16.680

Montalvo Machado: It’s like looking through other people’s eyes on the same subject.

1115

01:52:17.280 –> 01:52:18.120

Bill Koeb: Oh, that’s nice.

1116

01:52:19.410 –> 01:52:20.970

Dale Stephanos: Wow. Beautiful.

1117

01:52:26.070 –> 01:52:26.370

Cool.

1118

01:52:30.150 –> 01:52:35.850

Tim Trabon: Yeah, man, it really lets you know how much of a spectrum there really is of

1119

01:52:37.680 –> 01:52:40.590

Tim Trabon: How many different ways. There are to solve problems.

1120

01:52:41.130 –> 01:52:41.970

Tim Trabon: Approach problems.

1121

01:52:42.330 –> 01:52:42.900

Marcia

1122

01:52:44.970 –> 01:52:45.780

Dale Stephanos: Oh, it’s beautiful.

1123

01:52:49.470 –> 01:52:51.870

Tim Trabon: Illustration isolation hashtag not Tom

1124

01:52:59.820 –> 01:53:00.270

Montalvo Machado: Green.

1125

01:53:00.630 –> 01:53:03.540

Tim Trabon: We have agreed, definitely not.

1126

01:53:07.650 –> 01:53:11.970

Tim Trabon: Oh, I missed it. Sorry, make sure that every drawing. I see.

1127

01:53:14.670 –> 01:53:15.210

Dale Stephanos: Hey, that’s cool.

1128

01:53:16.560 –> 01:53:16.890

Tim Trabon: Cool.

1129

01:53:20.730 –> 01:53:21.510

Well that’s nice.

1130

01:53:27.150 –> 01:53:27.750

Tim Trabon: Andy

1131

01:53:30.480 –> 01:53:31.200

Sweet.

1132

01:53:32.220 –> 01:53:34.440

Tim Trabon: It is the last week of career development.

1133

01:53:37.350 –> 01:53:43.560

Tim Trabon: She is in our visual arts passage. She’s a student and career development with Sterling humbling.

1134

01:53:44.700 –> 01:53:46.080

Montalvo Machado: Wow, cool.

1135

01:53:46.650 –> 01:53:49.770

Tim Trabon: Great class great class of students.

1136

01:53:52.080 –> 01:53:54.990

John English: Spoke with Sterling right before we start.

1137

01:53:56.070 –> 01:54:05.460

Tim Trabon: Well you know what’s funny is is Sterling, he’s gonna have to keep teaching for us because we can’t get rid of that group of students. They just keep taking that career development course.

1138

01:54:05.580 –> 01:54:07.500

Tim Trabon: Okay. Now repeat

1139

01:54:08.400 –> 01:54:10.320

Tim Trabon: Repeat. It’s a great course.

1140

01:54:11.340 –> 01:54:13.020

John English: It’s meant to be repeated. Awesome. It

1141

01:54:13.020 –> 01:54:14.370

Tim Trabon: It might find

1142

01:54:15.330 –> 01:54:17.190

John English: When you’re not, you know, it’s

1143

01:54:18.960 –> 01:54:23.670

John English: You, you get to a point you leave the program. When you’re ready,

1144

01:54:25.020 –> 01:54:25.710

Dale Stephanos: That’s great.

1145

01:54:28.740 –> 01:54:32.160

Tim Trabon: Yeah. Usually when people leave the program. It’s because

1146

01:54:33.180 –> 01:54:47.640

Tim Trabon: John, who was it we were, we had an event like this. The other like the other week. And somebody said I had to stop taking a visual arts, Pat, I had to stop taking classes and visual arts passage because I was too busy getting work.

1147

01:54:48.810 –> 01:54:49.770

Dale Stephanos: On this great well

1148

01:54:50.100 –> 01:54:50.880

Tim Trabon: Yeah, it’s a great

1149

01:54:51.030 –> 01:54:52.740

John English: It’s a great was that was

1150

01:54:56.460 –> 01:54:59.670

John English: His name was Rios his last name and

1151

01:55:00.000 –> 01:55:02.070

Tim Trabon: I’ve heard a couple people say at this point.

1152

01:55:06.960 –> 01:55:11.460

Tim Trabon: You’re awesome, everybody. Thank you so much for posting and tagging. So we can see it.

1153

01:55:25.200 –> 01:55:26.310

Tim Trabon: Oh, that’s so much fun.

1154

01:55:42.660 –> 01:55:42.930

Tim Trabon: One.

1155

01:55:50.580 –> 01:55:53.430

John English: Timmy. Are you gonna be able to sleep inside tonight, or do you go to

1156

01:55:55.380 –> 01:55:56.790

Tim Trabon: John is right here. So,

1157

01:55:58.350 –> 01:55:59.430

John English: You gotta be able to snap.

1158

01:55:59.520 –> 01:55:59.850

Right.

1159

01:56:04.620 –> 01:56:06.060

Dale Stephanos: He’s just fine, where he is.

1160

01:56:06.360 –> 01:56:06.690

Yeah.

1161

01:56:07.830 –> 01:56:11.040

Tim Trabon: Yeah, I was telling him, I’ve been banished with

1162

01:56:13.320 –> 01:56:16.380

Tim Trabon: The camper. He’s not been banished.

1163

01:56:17.130 –> 01:56:18.270

Dale Stephanos: Well, he is now.

1164

01:56:26.250 –> 01:56:29.670

George Pratt: Oh, wow. Nice, beautiful. Yeah.

1165

01:56:30.180 –> 01:56:32.760

Dale Stephanos: AJ consistently.

1166

01:56:34.320 –> 01:56:35.910

Dale Stephanos: Very exciting drawing style.

1167

01:56:36.420 –> 01:56:37.410

Montalvo Machado: Yeah, absolutely.

1168

01:56:37.980 –> 01:56:38.370

Mini

1169

01:56:39.420 –> 01:56:40.080

Bill Koeb: That’s cool.

1170

01:57:25.710 –> 01:57:27.990

Tim Trabon: Lot of people posting the work time which is great.

1171

01:57:28.740 –> 01:57:29.100

Yeah.

1172

01:57:30.810 –> 01:57:31.740

Bill Koeb: That’s very cool.

1173

01:57:32.220 –> 01:57:33.450

Tim Trabon: Ryan. Nice.

1174

01:57:40.680 –> 01:57:42.000

George Pratt: That’s cool. Yeah.

1175

01:57:42.090 –> 01:57:48.180

Tim Trabon: Just kind of curious to those of you in the crowd. Who’s tuning in it like a wild hour of the night.

1176

01:57:50.310 –> 01:57:53.040

Tim Trabon: Because I know a lot of people are tuning in from kind of all over

1177

01:57:54.780 –> 01:57:58.320

Montalvo Machado: Well, this is 10:36pm here in Brazil.

1178

01:57:59.490 –> 01:58:00.420

Montalvo Machado: Not that late

1179

01:58:07.500 –> 01:58:08.220

Tim Trabon: Sweet.

1180

01:58:09.270 –> 01:58:09.840

Tim Trabon: AJ

1181

01:58:20.910 –> 01:58:21.630

Bill Koeb: was great.

1182

01:58:31.980 –> 01:58:32.250

Tim Trabon: Chuck

1183

01:58:33.570 –> 01:58:33.960

Tim Trabon: Nice.

1184

01:58:44.130 –> 01:58:46.170

Montalvo Machado: storyboard. The role. Oh.

1185

01:58:47.550 –> 01:58:49.470

Tim Trabon: Sorry. I didn’t mean k off Montalvo

1186

01:58:49.710 –> 01:58:55.260

Montalvo Machado: Yeah, I was just, it looks like storyboard drawing and his name was just one one, drawing back

1187

01:58:56.130 –> 01:58:57.900

Tim Trabon: Uh huh. Oh, why did I miss it so

1188

01:58:59.580 –> 01:58:59.940

Montalvo Machado: Yeah.

1189

01:59:00.000 –> 01:59:00.480

Montalvo Machado: This one.

1190

01:59:00.870 –> 01:59:09.600

Montalvo Machado: It really looks like storyboard style and it looks familiar to me. I’ve been to his storyboards for quite some time and then the name is storyboard there. Oh.

1191

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Tim Trabon: Yeah.

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Tim Trabon: AJ

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Wow.

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Tim Trabon: All right.

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Tim Trabon: The person that snuck in or hashtag.

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Tim Trabon: All right, everyone, guys. Thank you all. Thank you all so much for

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John English: Very, very fun night.

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Tim Trabon: Really fun, really.

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John English: everybody for joining us. Instructors are guests. I should say panelists and all the guests. It was great, really fun night.

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Tim Trabon: Yeah.

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Montalvo Machado: You all thanks for having me here.

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Bill Koeb: Thanks, everybody. Great to see sketchbooks

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Montalvo Machado: Yeah, great to see you again. Bill just

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Montalvo Machado: I miss our talks there at the

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Montalvo Machado: Academy. It was just, we spent so much you know so little time together. But our friendship last forever.

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Tim Trabon: Absolutely. So I everyone. Thank you for posting your work if you didn’t post it for us to check it out, please post it to the Facebook group.

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Tim Trabon: If you want to help out visual arts passage by helping us continue to do these things and you can’t sign up for our mentorship program, but you want to support this in some way.

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Tim Trabon: Please write us a Facebook review. I would love that. That would be really helpful.

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Tim Trabon: Preferably a five star Facebook.

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Bill Koeb: Facebook.

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Tim Trabon: Yeah, good.

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Tim Trabon: You don’t want to do five stars. We understand, please give us a call and maybe give the four star last review to me or john personally

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Tim Trabon: And we’ll pass it on.

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Tim Trabon: So anyways, good night. Everybody Dale George bill metallic

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George Pratt: Take care everybody

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It senor.

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John English: Everybody fun

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Montalvo Machado: Fun. Bye guys.

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All right.