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Illustration Isolation: Episode 25, Bryan Rodner Carr part IV

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.

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Episode 25 Transcript:

This is automatically generated and may contain spelling errors or inaccuracies
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Tim Trabon: All right.

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Tim Trabon: Here we go.

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Tim Trabon: Another Thursday night.

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John English: I know that Thursday night at another time, I immediately just thought of what have I forgotten.

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John English: To me, you're going to giggle. The thing I forgotten.

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John English: The WD 40

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John English: Myself. I'm gonna get I'm gonna spray my chair and I forget.

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Tim Trabon: You know what, I'll set up like a donation button.

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Tim Trabon: On site.

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C. F. Payne: Go Fund Me.

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John English: Yeah, I

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Tim Trabon: Will create a GoFundMe account. Yeah.

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John English: I this is going to be a little bit smoother than last week because we stumbled at the beginning. We are all here. We are all organized. We have the correct reference

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John English: If you go to the website. It's in order to me. We got it all together. Yeah. And so I want to say, first I want to say welcome to Chris Payne to Montalvo and shadow Ashley love it, Bill cope if the Timmy. If there's anybody else that I walked in here since but

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Tim Trabon: I think he said it all my Taco Bell Curve. Yeah.

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John English: I did. I think I got them all and you welcome everybody. I'm real quickly. We are just finished last night was mostly what is today. Last night was our last study hall for this semester.

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John English: The night before was Britain why concerns last color class was the last official class of the of the semester we are gearing up for October 10

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John English: We have a illustration and concept art program taught by some of the best practitioners in the industry, our goal, our mission statement with our program is to develop careers and

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Got a few of them in here tonight that we've helped develop their career.

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Tim Trabon: And many, many, many more. Yeah. On that topic. I, I think I sent it to you. JOHN Shane chlumsky shout out to

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Saw

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Tim Trabon: His, His work ended up on the cover on crate calm. One of my favorite websites, but I thought that was awesome.

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Tim Trabon: I saw that. Great. So

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John English: You got confirmation. It was his speech, right.

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Tim Trabon: From the website.

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Tim Trabon: Yes.

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Tim Trabon: He's, he's so busy. He didn't respond to my email but

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John English: He's a great example of somebody really hoping he's. He's got it, he's done a piece for The New Yorker, he's done that. I mean, things

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John English: That are just starting to happen for him and the illustration will yeah

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Tim Trabon: Yeah, it's a shame. Yeah.

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John English: I like to brag about our past students. I haven't told this story in here yet, but I'm going to, this is a good time. I got invited to the society of illustrators awards night.

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John English: And Sterling asked me if I would get come and present his gold medal tool and I found out

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John English: Not just that night I found out a few days before but out of the six gold medals given out this year, three of them went to our past students

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John English: Edward Kinsella, and Leslie Herman and Sterling Hadley, that's a pretty good track record and something I'm very proud of something. These people in this room and assisted with with an assistant with education Chris has been teaching with me for 26 years and it's always been a pleasure.

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John English: And I'm we are obviously very committed. We haven't been doing this for a quarter century century, just to figure it out. I mean, for fun, it's, it has been

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John English: It has been a pursuit. And I think we have

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John English: We got a great product. So check our check our program out. We're here in life, throwing tonight or figure during that we do every Thursday night.

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John English: I love this page. I can't stop showing this page that people that have assisted us that joining us George Pratt Audrey Benjamin sin, Gil Ashby myself.

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John English: John foster Brett watkinson Hector Casanova, I think Hector's coming in tonight. Bill codes drawing with us tonight. Don Kirkpatrick Ashley's here drawn with us tonight.

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John English: Vanessa Del Rey Dale is going to show up. That's Dale Stefanos and and raping you

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John English: The new one on the list that's drawing with us tonight is my album and shadow my taco. Thank you for being here. My topic was a student

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John English: In 1997. The first time he came to the Academy, he, he made it. I think you've been as much as anybody he traveled from San Paulo, Brazil.

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John English: To come see us multiple times. And it's as I told him, him, this is his third week in a row, drawing with us. I said, I feel like he's a neighbor of mine. I just to get to see him every Thursday night. Now it's it's phenomenal. I love it. And I always say thank you to Chris Payne

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John English: And thank you to the way brothers. This was the first the photographers that that allowed us to use their, their work. The first besides treatment.

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Tim Trabon: Now is more of a taking.

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John English: A grab grab

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John English: The way brothers and the art house have

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John English: Been very supportive. They've introduced us to Brian right car which will be drawing from tonight. I think we're going to try to do tonight, one more night with Brian, you know,

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Tim Trabon: I am reached out and I've got a few feelers out to a couple, couple more photographers

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Tim Trabon: We are making an effort to bring a little bit more diversity to the photographers that we've been featuring because we know that that is definitely needed

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Tim Trabon: And but Brian ron or car tonight. And then next week, potentially, we will have a new photographer.

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Tim Trabon: But one of the things I should add, is we're, we've been really lucky in that all this photography has been donated to us. Brian on her car literally sent us his website just said, grab what you need, which is

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Tim Trabon: Coming from my photographer is really

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Tim Trabon: You know, and so I shout out to Brian arthouse if you if you can share your work with us tonight. We'd love to see it.

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Tim Trabon: And the way you can do that is, be sure to tag I, you know, when you look at the photo reference page you'll see all the necessary tags and one things I cannot recommend highly enough

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Tim Trabon: Just out of full respect is, be sure to tag Brian and RW to arthouse

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Tim Trabon: Brian is an artist to our W two arthouse represents a lot of artists and I know that there are sometimes looking for artists so

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Tim Trabon: Y'all should

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John English: Had a bad connection at all. Yeah.

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Tim Trabon: Not a bad organization to get on their radar so tag them because I know that they've been digging all the work so

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John English: And just, just a heads up to you to me that, you know, calling through the, the Instagram page and the website, there's still plenty more more of Brian

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John English: So there's no issue. We could, we could do it the fall, you know, next week week a rather be trying here. So let's do it. We are set to go. Time to draw and Bill cope is up first.

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Hello.

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John English: Hey Bill, how are you

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Bill Koeb: I'm doing well. So I'm going to be drawing

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Bill Koeb: The man with the

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Bill Koeb: Bananas head and the roses and

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Bill Koeb: Just switch to that right window.

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Bill Koeb: There we go.

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Bill Koeb: And I picked this one I just, I like the shape of his face and I like the shadows.

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Bill Koeb: And the, the contrast between the red and the

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Bill Koeb: And the color of his face, although I'm probably not going to be doing anything much with the color I'm drawing on

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Bill Koeb: It looks read on the screen or grayish, it's a green piece of paper.

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Bill Koeb: It's my last piece of paper leftover from the time I taught at the Academy, so

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John English: Wow, there's not much of that around.

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John English: That's a great color.

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Bill Koeb: It is such a nice color so

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Bill Koeb: Yeah. Anyways,

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John English: I'm going to turn the clock on

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Bill Koeb: So one thing I'm doing in this drawing that I don't often do is I'm going to draw myself some guidelines.

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Bill Koeb: Just because of the angle of his head.

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Bill Koeb: And I want to sort of try to get that right.

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Bill Koeb: Gonna hit on here pretty large. So,

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Bill Koeb: my sketchbook so

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Bill Koeb: Most of the time it's on location and most of the time people are moving too fast for me to

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Bill Koeb: Construct anything. So I just kind of

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Bill Koeb: Go for it.

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Tim Trabon: I, the way I don't know if you guys noticed it just came in. Hey, Audrey.

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Bill Koeb: Audrey. Audrey.

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Tim Trabon: Billy, you can. I know you don't have to draw anymore. We'll just switch over.

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Tim Trabon: I'm just teasing.

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Bill Koeb: You know power tool accent. You're going to be the least of your worries.

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John English: That's me. I didn't say that, Timmy said that

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Tim Trabon: Person, you're the only person who can take it.

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Tim Trabon: You've got the confidence for it.

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Bill Koeb: I know I'm not just a pinch hitter.

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Montalvo Machado: Creases paid his dues back then.

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John English: It's funny odd Andre, good to see a two nights in a row, Audrey drove you to join me for study hall last night.

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Bill Koeb: I almost did that last night, but I was tired.

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Audrey Benjaminsen: Power cord. Now it's on my my phone.

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Yeah.

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Bill Koeb: Cool.

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John English: We're gonna find night last night, I always I always enjoy that.

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Bill Koeb: Yeah, I was thinking about going, but I would, I kind of been charted out i i went out on location and painted a landscape, which is the first time I've ever gone out and painted the landscape.

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John English: Really

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Bill Koeb: Yeah location. I mean, I've never, you know, I've paint landscapes, but from photos.

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John English: Or something.

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Bill Koeb: With that

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John English: You think you're George Pratt or something.

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Bill Koeb: I mean, that's great.

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Bill Koeb: I was probably not too far from where George is live here in Chapel Hill, so

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Bill Koeb: I just, it's just something I've been wanting to do and

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Bill Koeb: A friend of mine loaned me and he sold about a year ago.

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Bill Koeb: Or so, and

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Bill Koeb: So I went out to kind of spot and

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Bill Koeb: Worked on it. I'm not sure if it's done or not, but

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Bill Koeb: But it was very peaceful

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John English: That seems

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John English: That seems to be one of your

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John English: Your battle. So it's actually something fun to talk about because your work is always very immediate and very fresh knowing when something's finished has got to be a

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John English: Big decision you make in your process.

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Bill Koeb: It is, yeah. And

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Bill Koeb: I mean there's aspects of the painting now like like I can go go and show it. But there's aspects of the painting. I like but I'm really keenly aware that the color.

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Bill Koeb: Is different than

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Bill Koeb: What I had observed and

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Bill Koeb: You know becomes do i do I change the color, which changes what I have

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Bill Koeb: That that's a sacrifice of

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Bill Koeb: You know, every choice you make is going to be

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Bill Koeb: you're sacrificing something or do I just let it be what it's going to be and not worry if the color is accurate, but just

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Bill Koeb: See if it kind of works on its own, you know, we're the way it is.

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Bill Koeb: was fun. I mean, I

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Bill Koeb: I just after I took me about an hour to find a spot. And once I found a spot. I was, I was kind of ready to go.

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Bill Koeb: So john have you painted out on location much and they do a lot of landscapes, but

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John English: I have done it. So just to know that I don't like it very much.

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John English: I probably haven't given it as much time. But really, all my favorite landscape painters or studio guys you know

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John English: Yeah, it's usually really

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John English: Really inventive kind of redesigned what they're looking at.

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John English: It's the thing. I mean, I really liked it. I think there's so much, it's, it's such a great way to learn color and to see light.

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John English: Again, it

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John English: Is to

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John English: To figure that stuff out, but I think I'm I have a better time and I actually have I do better paintings. When I'm focusing on

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John English: Thinking about repurposing what I'm looking at.

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Bill Koeb: Yeah.

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John English: Very difficult time doing that on site.

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Bill Koeb: Yeah.

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Bill Koeb: I can hear. I can relate to that.

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Bill Koeb: Because I did do some of that like just squishing things together and moving things around.

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John English: I get get very caught up when I'm painting on site. I get very caught up into reality and

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John English: Have a harder time

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John English: Leaving reality and being creative with my composition. Yeah.

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Bill Koeb: I can relate

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So,

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John English: Yeah, I've definitely done it and I've enjoyed it. I've been. I've got a great spots to shoot reference. That's my, my favorite kind of trip. Now, I was in Colorado, just a few weeks ago.

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John English: When I did that, Tom. Tom plaques your lecture I went up to Steamboat Springs and I shot lots and lots of photo reference

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John English: I had a terrific time doing it and I've always I've always done that and

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John English: Yeah now experiencing it i i've never like painted from somebody else's photography

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John English: I really do think that, you know, it starts with

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John English: Observing inspiration as you're observing a collection of shapes that get you excited, that's kind of how I explain it.

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Bill Koeb: Yeah, no, I, I can relate to that and I drove around a long time until I found a spot that it just kind of hit me like that was the right spot.

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Bill Koeb: I was, I was kind of To the Point giving up. I was like, Okay, I'm not gonna find anything.

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John English: You can do. You could have done George's old house, which I guess that's cancelled house too. Right.

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Bill Koeb: Yeah, I could have done that. Yeah.

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Bill Koeb: I wasn't gonna be an interesting

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John English: graphic novel.

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Bill Koeb: I did like the studio at that house.

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John English: I never saw it. I just heard about it.

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Yeah.

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Bill Koeb: Yeah, when I first came to Chapel Hill and 99 for George's wedding. I am

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Bill Koeb: I took care of their dog for a few days and I stayed and

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Yeah.

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Bill Koeb: That was my first exposure to southern humidity.

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John English: Yeah, well, you can keep it.

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Bill Koeb: Yeah, absolutely. Yeah, well,

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Bill Koeb: I was dumb. I moved here, you know, so

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Bill Koeb: But yeah, just kind of had to find the right spot.

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Bill Koeb: And then once I found the right spot in the right shapes in the right color right I set up and

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Bill Koeb: Nobody stopped asked me what I was doing her to tell me that it didn't look like what I was looking at

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Montalvo Machado: Happens all the time.

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Montalvo Machado: Are you drawing

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Audrey Benjaminsen: I feel bad for getting annoyed with that because whenever I see someone else dry. I'm so excited. And I want to talk to

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Audrey Benjaminsen: You to remember it often comes from a good place.

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Yeah.

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John English: Sometimes. Sometimes you can attract the crowd. By doing that.

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Audrey Benjaminsen: I know

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Bill Koeb: I mean, I was just thankful that the cars that were passing me slow down enough

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Bill Koeb: moved over so that they didn't blow away.

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Bill Koeb: Yeah, that was I appreciated that.

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That was

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Bill Koeb: But I did find a spot another spot that I want to go back to that has some horses.

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Bill Koeb: That I may just photograph.

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And

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Bill Koeb: Work from

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Bill Koeb: Horses aren't really don't cooperate, they don't sit still long enough.

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Bill Koeb: Yeah.

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John English: Chris you'll appreciate this. My

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John English: My dad, who was becoming very experimental about the time one of my my sister's younger sister.

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John English: Was in grade school and he was asked to come in for like

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John English: Career day

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John English: So he went in and he did a drawing.

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John English: And he was very much into the horses that he was doing at the time. He did a drawing and a little pain for the kids and

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John English: His daughter.

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John English: Got like upset with them. My sister and said that, you know,

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John English: You think that if you tried really, really hard. You could draw a horse that actually look like a horse.

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John English: He did his interpretation of a horse. I'm sure it was beautiful, but

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John English: I thought I love the educated. I have a eight year old telling him art directing

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Bill Koeb: The honesty.

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Bill Koeb: So brutal honesty. Yeah.

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John English: That's fine. As a kid I thought everybody could draw

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Montalvo Machado: I remember

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Montalvo Machado: There was a story that your father used to tell us back in the academy. They said he moved. I don't remember exactly. Well, he moved a few times, but he was just a newcomer on the neighborhood, and there was this just across the street, there was this fellow that was his

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Montalvo Machado: Neighbor, and they invited the family for dinner, and as presenting marketing which to the guys. He was saying, well, this marketers. This is a painter is living across the street, and he draws

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Montalvo Machado: He paints women that are very hard to see.

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Montalvo Machado: I thought that was a description, you know, kind enough not to be offensive but it was really strange and Mark telling that story was really, really funny.

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John English: It was his observation about my dad's painting to look like he couldn't figure out what was going on. And a lot of

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John English: Later in his life as an illustrator you

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John English: Couldn't get away with that, but as a painter. It was sometimes tough to figure out what was going on in my dad's pictures.

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John English: You wanted them to be a discovery about it. And when you were looking at it.

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Montalvo Machado: And it was a beautiful process to watch is just like magic was just, it was nothing. And then in one, one second. It was started to blow and Rowan and happened. It was incredible. Yeah, he was

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John English: more than capable

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John English: What's, what's so much fun. I know a lot of the lot of the nights here, and I'm sure tonight. I've been. We were joking about how many meetings I had today with portfolio reviews. How much time online. I spent and i'm i'm pretty wiped out.

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John English: Although I am drawing right now. I'm pretty wiped out, but I'm sure I'll stop and watch other people draw and I'm always I'm always been absolutely fascinated with it. It's still refreshing. It's still like watching magic to me.

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Bill Koeb: Oh, yeah.

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John English: Now what watching Good drawers watching Chris and Ashley and Bill and Montalvo draw is a very special thing Andriy to

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Montalvo Machado: It. So it's always something on to see how other people react to the same. He was the same image how what what the solutions they bring up. It's so different than what we personally would do. And that, I think that's fascinating. That's really interesting to see.

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I really

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John English: I giggled, kind of, but I posted I. The other night I didn't draw much I just did. I only did

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John English: Two poses and one of the poses I posted on Instagram and I thought I was pretty happy with that guy with the beats on and I posted it about 10 minutes after I posted Chris posted his version of his

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John English: living alone, Chris.

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John English: It was beautiful.

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C. F. Payne: Turn in my head.

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Bill Koeb: Earlier today.

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Bill Koeb: These gigantic

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Bill Koeb: Portraits of people, you know, cold feet tall or so.

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Bill Koeb: Can just kind of marveling at how loose. They were, but how they still

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Bill Koeb: Read as the person

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John English: Cummings.

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Bill Koeb: Yeah, Lane decoding.

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Yeah.

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Bill Koeb: How they still kind of read as

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Bill Koeb: The person that she was trying to

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Bill Koeb: Capture

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Bill Koeb: Alice Neel to

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Bill Koeb: That she's much more

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Bill Koeb: Kind of controlled

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John English: You're going I know Chris pains got a couple of major piece of Philip Burke's hanging in his house.

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John English: And I marvel at what he can get away with.

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Bill Koeb: Oh my God, yeah.

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John English: I'll make it look like the individual

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Bill Koeb: Oh my God, yeah.

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Bill Koeb: I know there's what he did a biggie pop. It's just

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Bill Koeb: I mean, it's not even

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Bill Koeb: If human shape.

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C. F. Payne: Yeah, but the problem is you see the. See, I always kid with Philip. I said, you know, he pop is Philip Burke illustrate

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Montalvo Machado: In real life,

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John English: The perfect model.

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C. F. Payne: That's why, that's why I here. I'll show you flip it around here real quick. I had him do my boys there that is

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John English: So so awesome.

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C. F. Payne: There's forever when he was about

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C. F. Payne: 10 and 11 when he's about four

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John English: That's crazy.

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C. F. Payne: And it's four feet by six feet.

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John English: Wow.

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C. F. Payne: I remember he did. I saw pictures of his Kurt Vonnegut.

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C. F. Payne: And I told Philip I said looks like a photo.

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Tim Trabon: Yeah, I just spotlight you again because the audience wants to see what you were sharing with john

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Tim Trabon: They couldn't see it.

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John English: Back.

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Tim Trabon: Built cope show

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C. F. Payne: Yeah, go back to bill.

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John English: Oh, I'm surprised you're back here.

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Tim Trabon: I am back. You know what's crazy is one so father in law incident with a power tool I I don't know how much he wants the public to know

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Tim Trabon: So there is that scare and then like like 10 minutes ago. I get an alert on my phone, that scared the heck out of me. That said,

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Tim Trabon: Let me see it said

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Tim Trabon: Emergency SOS you're receiving this because you're listed as the emergency contact which from my mom.

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Tim Trabon: I was like, oh my god. Sorry, run it, all while you guys are drawing run to my car and I'm, you know, driving to the GPS coordinates and my mom texts me. She goes, it was an accident. And I'm like, what accident.

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Tim Trabon: Because I

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Tim Trabon: Hit the button on accident.

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Tim Trabon: I'm like,

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Tim Trabon: Our, our parents, our handful right now.

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John English: That's actually I don't even know who it's from my favorite commercial that

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John English: teaching the class.

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John English: Your parents are

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John English: Not act like your father.

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Bill Koeb: Like your parents.

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Bill Koeb: Love Your help you hired him to

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Tim Trabon: It's wonderful. It's funny. She's in the class. So it's like

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Tim Trabon: Yeah yeah

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Tim Trabon: It is so anyways, yeah. So I'm still here.

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John English: That you can take off. If you need to say

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John English: I get a kick out of you, making the

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John English: Showing the kind of the plumb line of your piece of the angles.

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John English: I never think of you doing anything like that. Your, your work is so reactionary, but last week we drew drew. We had a figure that was a really light skin fair skin with freckles.

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John English: beautiful young girl.

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Bill Koeb: Blonde hair.

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John English: And I grew her and I think I hadn't done this in a lot. I mean, I was just having a football driver and I think I thought it was a really great drawing

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John English: Oh, stood back and I looked at it and I drew the mouth like off center like oh

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Yeah.

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John English: Because it was it's such a strong angle. And I was like, I gotta pay attention.

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Bill Koeb: Yeah, that happens to me.

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Bill Koeb: A lot and

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Bill Koeb: In fact, I did a drawing this morning that it's really skewed one way. So the next drawing it purposely skewed it the opposite way to

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Bill Koeb: You know, just to see if it would look sort of normal

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Bill Koeb: drying up

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John English: That's the clock tick like another minute or two built when we're talking

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Tim Trabon: Hey john so

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Tim Trabon: Before I leave

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Tim Trabon: You're officially the host, which means I whoever has the green box around them is the featured our desk.

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John English: Okay.

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Tim Trabon: I know you know that. Yeah.

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John English: Well, if I remember to do it while I'm drawing, that's the thing. I won't, I won't focus on my drawing

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Tim Trabon: Attendees it is, is your responsibility to

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John English: Remind you

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Tim Trabon: If he's talking about something you can't see.

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Bill Koeb: Yeah. Anyways, I think that's kind of

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Bill Koeb: I mean for Dryden, you know, this time period.

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Bill Koeb: His head looks a little strange, but then it you know

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Bill Koeb: Maybe it really is.

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Bill Koeb: I don't

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Bill Koeb: Know,

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John English: You got a lot farther than I did. And that's not saying much but

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John English: Me.

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John English: But it looks terrific.

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C. F. Payne: Thanks. Yeah.

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I'll turn

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Bill Koeb: Very nice photo.

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Ashly Lovett: All the highlights and pop those in cuz like how I would do it. It's fun, I like it so much.

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Bill Koeb: Yeah, highlights and stuff. And I was talking about your drawing the other day to somebody

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Bill Koeb: Yeah, just that.

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Bill Koeb: Your sense of value is just so strong and

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Bill Koeb: All you know you push the lights in the darks.

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John English: In her values.

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John English: Yeah, not not normal, like

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John English: The other sense of values.

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My moral

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Ashly Lovett: Dark Side

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Ashly Lovett: Har Har.

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Bill Koeb: Trying to tease.

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John English: Okay, so

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Bill Koeb: Go around the room.

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John English: Yeah, we can

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John English: Turn mine. I'm a little nervous to jerk to show what I've done, I've been talking and warm it up, but I'll be happy to share

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John English: I have no idea what camera is going to come on let me put the right camera.

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John English: Just go and really

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John English: That's where I am at this point.

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John English: Bouncing spotlight Chris Payne

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Montalvo Machado: Right.

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Yeah.

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John English: Beautiful.

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C. F. Payne: Because my lights. There we go back on.

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John English: That thing we're just

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John English: Okay.

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John English: We're gonna jump to Ashley.

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Bill Koeb: Know,

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Ashly Lovett: That help the head tilt, because as I suffered with that. The last time I was throwing last session so

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John English: Very, very nice.

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Bill Koeb: I was amazing.

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John English: OK. And then let's see my taco. You want to share

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Oh, yeah.

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John English: I got it. Hold on, spotlight video. Wow. Wait.

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Montalvo Machado: I went to another one.

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Bill Koeb: I look like him at all.

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John English: That's what happens when you're in the southern hemisphere.

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Montalvo Machado: Just let his hair girl.

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John English: Pick Audrey. Audrey. I can't tell, did you draw that one or

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Audrey Benjaminsen: Oh no, I, I watched the last one.

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John English: Okay, very cool.

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John English: So,

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John English: We are

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John English: So stupid. I can't remember the order

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John English: Actually, yeah.

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Bill Koeb: That's fun.

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John English: Go back and share Ashley scratches.

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John English: Spotlight video

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John English: Is that right, actually you are you are just like that. That's okay we got

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Yeah.

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John English: Alright.

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Ashly Lovett: So I am going to do color.

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Ashly Lovett: Which

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Ashly Lovett: Got a new set up. So I'm gonna

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Ashly Lovett: See all these guys try to use all of those. I used to have a tray here and I will be ordering one that I can just attach

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Ashly Lovett: Because I've, I've grown too. It's too much of a habit for me to have a tray so I'm constantly dropping my pastels and that's really difficult to pick up pastels. At this point in my life.

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Ashly Lovett: I've got like one month left with this pregnancy so hopefully I won't drop anymore because I can pick them up with my toes and that's fairly effective

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Ashly Lovett: As I said that I dropped. I dropped one, but I've got backups here.

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John English: Need to pan out, I want to see that.

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Ashly Lovett: That's okay, I'm in PJs I'm very comfortable.

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Ashly Lovett: Maybe one day when I'm dressed like an adult.

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Ashly Lovett: Okay, so I'm gonna go in with color with the chick with the green shirt and we'll see how this goes.

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Ashly Lovett: I'm going with a light yellow, which might be kind of hard to see this one. So I'll turn it off and then I'll turn it back on.

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Montalvo Machado: I'll do the right thing now and get the right picture.

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John English: Step, step up, you're

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Montalvo Machado: Not gonna dvd

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Ashly Lovett: And I appreciate all the compliments earlier, it's just, it's hard for me to switch from with my hands covered and pass though I have my mic turned off because I feel like when I'm drawing you can hear the

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Ashly Lovett: scratchy scratch scratch while I'm working

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Ashly Lovett: So I had myself muted. It's hard for me to kind of comment in and out.

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Bill Koeb: I am. I'm just like,

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Bill Koeb: I'm here to scratch.

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John English: Get a chair that makes a lot more noise that's all you gotta do.

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Ashly Lovett: The next recording

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Ashly Lovett: I kind of feel like I know what I'm doing. At this point, I'm just kind of blocking it in

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Ashly Lovett: And trying to not let the size of it. Get away from me, but we'll just see, and then I like popping in this is something, of course, it's the total George, George Pratt movie you just kind of throw in the

401
00:36:27.810 --> 00:36:34.170
Ashly Lovett: Where the blood Is on the face and the cheeks, nose, lips, also very sergeant.

402
00:36:34.740 --> 00:36:35.910
John English: Or color happens

403
00:36:36.240 --> 00:36:36.570
Yeah.

404
00:36:38.670 --> 00:36:46.710
Ashly Lovett: And I just like to be fun and kind of pick out stuff as I go. And again, I have a feeling this chicks face is going to shift.

405
00:36:48.060 --> 00:36:50.310
Ashly Lovett: As I'm working here it'll either get bigger or smaller.

406
00:36:51.630 --> 00:36:53.010
Ashly Lovett: We'll see what happens.

407
00:36:54.210 --> 00:37:02.760
Bill Koeb: That was, that was a sergeant move to. I mean, he would leave more space around the head, so he could make those adjustments.

408
00:37:03.390 --> 00:37:12.630
Ashly Lovett: Yeah, I used to get really irritated with myself because I'm like what you can't keep keep this composition on the paper. You know, because I really want to include the shirt and everything else and

409
00:37:13.650 --> 00:37:15.840
Ashly Lovett: Sometimes it gets away from you, especially when you're

410
00:37:16.530 --> 00:37:17.550
Ashly Lovett: Only got 20 minutes

411
00:37:19.530 --> 00:37:24.360
Bill Koeb: I lost track of how many times I started growing at one size and

412
00:37:26.160 --> 00:37:26.760
Bill Koeb: Yeah, that's

413
00:37:27.030 --> 00:37:29.730
Ashly Lovett: All sometimes like start over, because it

414
00:37:32.490 --> 00:37:33.930
Ashly Lovett: Like Nope, that didn't work.

415
00:37:38.760 --> 00:37:42.870
Bill Koeb: Do you know artists David Hughes drawings

416
00:37:43.230 --> 00:37:47.970
Ashly Lovett: I might I'm as john knows I'm awful at remembering people's names.

417
00:37:50.490 --> 00:37:55.620
Bill Koeb: British artist, and he was doing a lot of illustration in the 90s and

418
00:37:57.300 --> 00:37:58.170
Bill Koeb: He just

419
00:38:00.330 --> 00:38:03.600
Bill Koeb: I mean his, his drawings of heads and bodies like there's no

420
00:38:05.940 --> 00:38:10.290
Bill Koeb: You know, they're completely disproportionate. Yeah, and it works.

421
00:38:13.980 --> 00:38:28.020
Ashly Lovett: Oftentimes, like people like my stuff because it's it has weird in the beginning of kind of notice the trends that are the habits. I get into the people that like the exaggeration. I'm like, oh yeah, thanks. Thanks. That was totally on purpose.

422
00:38:29.220 --> 00:38:29.940
Bill Koeb: Yeah.

423
00:38:31.110 --> 00:38:32.850
Ashly Lovett: Sure, sure, sure, on purpose. Yeah.

424
00:38:33.480 --> 00:38:34.410
Bill Koeb: Meant to do that, that

425
00:38:34.560 --> 00:38:35.790
Ashly Lovett: Meant to make it look that way.

426
00:38:36.720 --> 00:38:41.310
John English: Well, we'll ask you the question later on. Can you actually draw somebody that looks like somebody

427
00:38:42.330 --> 00:38:45.690
Ashly Lovett: That's, that's one that I like a realistic portrait.

428
00:38:46.080 --> 00:38:47.670
John English: I'm teasing you. I didn't

429
00:38:47.940 --> 00:38:48.450
Ashly Lovett: Know like

430
00:38:50.310 --> 00:38:50.760
Ashly Lovett: I think that

431
00:38:52.680 --> 00:38:54.900
John English: Is faster than anybody I know. It's

432
00:38:55.830 --> 00:38:57.690
Ashly Lovett: I don't believe that you know too many people

433
00:38:59.490 --> 00:39:01.260
John English: That's dangerous saying in this room.

434
00:39:01.530 --> 00:39:03.630
Ashly Lovett: Yeah, exactly what I was thinking.

435
00:39:08.040 --> 00:39:10.380
Ashly Lovett: We'll see how this goes.

436
00:39:11.430 --> 00:39:30.960
Ashly Lovett: So I'm trying to figure all this out. And this is where I again I just go back to shapes and sometimes I've had drawings that I've done in here that were just total flops, because I just couldn't quite figure out my shapes the way I wanted to. So we'll just

437
00:39:32.130 --> 00:39:33.930
Ashly Lovett: See what direction. This goes

438
00:39:36.120 --> 00:39:37.350
Ashly Lovett: Really love all those

439
00:39:39.300 --> 00:39:41.910
Bill Koeb: Don't sound like you draw people to look like you

440
00:39:43.020 --> 00:39:58.500
Ashly Lovett: Yeah, I get that a lot. But I have very, very round ish features. So I don't know if that just kind of like pushes that concept, but it's probably because I don't know each other in the mirror, look at ourselves in here.

441
00:39:59.850 --> 00:40:00.840
Bill Koeb: Everybody's if they're pregnant.

442
00:40:01.350 --> 00:40:01.710
Yeah.

443
00:40:04.020 --> 00:40:05.970
Ashly Lovett: I'm not used to this. This is all new

444
00:40:09.300 --> 00:40:12.090
Ashly Lovett: Man, I'm telling you, it's getting. It's getting crazy.

445
00:40:14.070 --> 00:40:15.300
Bill Koeb: Come out, aren't you

446
00:40:15.420 --> 00:40:16.860
Ashly Lovett: What's that, oh yeah.

447
00:40:18.330 --> 00:40:18.990
Ashly Lovett: I'm ready.

448
00:40:19.290 --> 00:40:20.340
Ashly Lovett: I'm ready to like

449
00:40:20.760 --> 00:40:27.330
Ashly Lovett: Be able to move quickly and not like carefully all the time. That's what I'm getting tired of

450
00:40:28.950 --> 00:40:35.490
Ashly Lovett: My husband Matthew like bolted out the door to go catch something, you know, like, oh, yes, the days when I could move quickly I missed that.

451
00:40:38.790 --> 00:40:39.180
John English: I had

452
00:40:41.190 --> 00:40:55.320
John English: Thinking about moving quickly today I was doing I was online doing a portfolio review and my dog like literally jumped against a glass window just all and he's always like 100 pounds. He like

453
00:40:55.710 --> 00:41:01.440
John English: Big sliding window all four paws hit the window. He was so he was really upset at something

454
00:41:02.700 --> 00:41:05.760
John English: Outside and there was a deer standing on our deck.

455
00:41:07.980 --> 00:41:09.030
John English: Looking in our house.

456
00:41:09.120 --> 00:41:10.800
John English: We live in a neighborhood. You know, it's

457
00:41:11.640 --> 00:41:11.940
Ashly Lovett: It's a

458
00:41:11.970 --> 00:41:13.590
John English: real surprise for both of us.

459
00:41:13.950 --> 00:41:14.310
Oh,

460
00:41:19.860 --> 00:41:26.070
Bill Koeb: I saw, I was reading the other day, and there were eight eight or nine deer waiting to cross the street.

461
00:41:27.000 --> 00:41:28.230
Ashly Lovett: Waiting they

462
00:41:29.940 --> 00:41:37.650
Bill Koeb: Finally did, and of course the yard that they ran into has all these like electric fence up to stop.

463
00:41:39.270 --> 00:41:41.940
Bill Koeb: They didn't care. They just went right through that yard.

464
00:41:44.070 --> 00:41:51.960
Bill Koeb: Which most of them ended up stuck in that yard and then immediately like that, that person's dog started chasing after them. So

465
00:41:53.280 --> 00:41:54.360
Ashly Lovett: I must have been a show.

466
00:41:54.930 --> 00:41:57.990
Bill Koeb: It was a show. I swear to God, it was, it was a great show.

467
00:42:00.150 --> 00:42:07.200
John English: I couldn't believe how easily that deer exited by four foot tall fence around my house.

468
00:42:08.430 --> 00:42:09.900
John English: It was like wasn't even there.

469
00:42:19.980 --> 00:42:21.660
Ashly Lovett: Struggle with profiles.

470
00:42:25.290 --> 00:42:26.370
Ashly Lovett: Just keep going.

471
00:42:27.390 --> 00:42:28.650
Montalvo Machado: was funny. We're talking about

472
00:42:29.910 --> 00:42:31.140
Montalvo Machado: Drawing and

473
00:42:32.610 --> 00:42:42.180
Montalvo Machado: Seeing some skewed features after the drawings done and I just noticed that when I take pictures of my drawings. I can see

474
00:42:43.290 --> 00:42:47.520
Montalvo Machado: The whole new thing on on the cell phone screen.

475
00:42:49.440 --> 00:43:02.700
Montalvo Machado: And then I try to get back and correct some things just like flipping the drawing or looking at a mirror, but it's just like watching the drawing on the iPhone. It turns, you know,

476
00:43:03.570 --> 00:43:04.860
Ashly Lovett: type it into a thumbnail.

477
00:43:05.340 --> 00:43:06.150
Montalvo Machado: can really see

478
00:43:06.480 --> 00:43:07.260
Montalvo Machado: What's going on.

479
00:43:07.620 --> 00:43:07.890
Yeah.

480
00:43:09.150 --> 00:43:13.800
Montalvo Machado: This is just, you know, a little bit off or too dark or too late, whatever.

481
00:43:14.370 --> 00:43:15.840
John English: I think you said it actually

482
00:43:17.160 --> 00:43:20.130
John English: You can see it down in size. You can see what's wrong with it.

483
00:43:22.590 --> 00:43:25.950
John English: So you see, correct. The proportions and all of that right smaller

484
00:43:26.520 --> 00:43:27.570
Bill Koeb: Yeah, oh yeah.

485
00:43:29.430 --> 00:43:37.620
Ashly Lovett: I've had more than one drawing from one of these drawing nights where I was like, oh, this didn't turn out too bad. And I'll post it, and then I look at it like an hour later and

486
00:43:38.490 --> 00:43:39.660
Ashly Lovett: That eyeball is

487
00:43:39.660 --> 00:43:40.470
Ashly Lovett: So odd.

488
00:43:45.180 --> 00:43:46.440
John English: What was I thinking

489
00:43:46.560 --> 00:43:49.770
Ashly Lovett: Yeah, there goes the pride in that piece.

490
00:43:51.360 --> 00:43:56.940
John English: I'm telling you, I did a piece last week where the mouth was like off by, like, half width of the route.

491
00:43:58.470 --> 00:44:01.020
John English: I want to fix it because I love the rest of drones.

492
00:44:02.100 --> 00:44:04.650
C. F. Payne: Just a john call it a caricature.

493
00:44:05.520 --> 00:44:06.660
Bill Koeb: Yeah, hey,

494
00:44:07.950 --> 00:44:09.780
John English: I'm sorry know like I've seen

495
00:44:11.280 --> 00:44:14.250
John English: I've seen paintings up like where people were

496
00:44:15.660 --> 00:44:28.710
John English: On women, they had a lot of lipstick on and then the artists, which is blur with a lot of paint blur the math out like they rub the just completely smudge them out. I tried doing that with past now and it just made it also

497
00:44:30.750 --> 00:44:32.340
John English: Gave me the reason to correct it now.

498
00:44:43.140 --> 00:44:54.630
Ashly Lovett: I will say about new pastels their shades of red. I like the dark darker shades for just horrendous. They are hard as bricks. I don't even know why they produce them.

499
00:44:55.560 --> 00:45:00.390
John English: I think that people that produce them should be cruising plastic around

500
00:45:02.430 --> 00:45:02.910
Montalvo Machado: Oh, yeah.

501
00:45:03.150 --> 00:45:07.890
John English: I break more of the pastel I actually use I'm just constantly destroying

502
00:45:12.750 --> 00:45:20.400
Montalvo Machado: I took the time to send a few of mine, because there were this plastic just around and just like sealed with black. I don't know why, but I

503
00:45:20.550 --> 00:45:21.000
John English: Must go

504
00:45:21.870 --> 00:45:22.140
John English: To

505
00:45:22.770 --> 00:45:26.160
John English: The mall. I'VE COMPLAINED enough to the owner of the

506
00:45:27.210 --> 00:45:32.190
John English: Of the art supply store buying from all the time. So they're strictly there for the barcode.

507
00:45:33.630 --> 00:45:48.510
John English: And they make you every time I go and check out the, you know, you buy, you know, sometimes for the Academy. I'll buy two and 300 pastels at a time, you know, for group of people and they check. They sit there and check out everyone individually.

508
00:45:50.100 --> 00:45:51.390
John English: With all the same price.

509
00:45:52.020 --> 00:45:52.560
Right.

510
00:45:54.660 --> 00:45:55.920
Audrey Benjaminsen: Now check for counterfeit.

511
00:45:57.690 --> 00:46:01.440
John English: And I keep saying, oh, what's the objective here. And, oh, it's just the way they make us do it.

512
00:46:03.180 --> 00:46:05.880
John English: Okay, but that's that's the reason is the barcode.

513
00:46:08.100 --> 00:46:13.740
Ashly Lovett: Is the exact I use an exacto blade on all of them. That's how I get all that off.

514
00:46:14.970 --> 00:46:16.260
John English: I would just cut myself.

515
00:46:31.200 --> 00:46:32.370
Bill Koeb: Rushing to

516
00:46:34.380 --> 00:46:34.890
Bill Koeb: Get

517
00:46:36.060 --> 00:46:40.200
Bill Koeb: An assignment matted for class for painting class.

518
00:46:41.490 --> 00:46:46.860
Bill Koeb: Desperately cutting the mad or cutting, you know, cutting it down and I slice right through my

519
00:46:46.980 --> 00:46:47.580
Know,

520
00:46:49.230 --> 00:46:54.150
Bill Koeb: A little tip off my phone. So of course the class and

521
00:46:55.830 --> 00:47:00.030
Bill Koeb: My girlfriend at the time, took me to the emergency room and

522
00:47:01.530 --> 00:47:05.010
Bill Koeb: I don't know why, but she was laughing the whole time I was like they were looking at it.

523
00:47:08.310 --> 00:47:08.520
Ashly Lovett: I

524
00:47:08.670 --> 00:47:12.450
John English: Like bill. I did that packaging a piece for FedEx

525
00:47:12.870 --> 00:47:13.470
Bill Koeb: Oh god.

526
00:47:13.650 --> 00:47:17.190
John English: I was so mad at my I miss FedEx, which is the worst part of it, but

527
00:47:17.490 --> 00:47:17.820
Yeah.

528
00:47:19.500 --> 00:47:21.600
John English: I had to go get stitches in my thumb also

529
00:47:22.740 --> 00:47:24.270
John English: The stupidity. You know, you think

530
00:47:25.050 --> 00:47:28.590
John English: You're trying to go too fast when, if you would have just been safe and careful

531
00:47:29.610 --> 00:47:30.030
Bill Koeb: Yeah.

532
00:47:30.540 --> 00:47:31.080
C. F. Payne: I've never done.

533
00:47:31.470 --> 00:47:34.710
C. F. Payne: I've never done it with packaging, but I've done it. Cutting onions for chili.

534
00:47:37.530 --> 00:47:51.480
Ashly Lovett: I've dropped an executive blade on my hand right here. And I remember just how it just went through my skin like butter. And that was just so upsetting how fragile. Are we so I thought really creepy.

535
00:47:52.920 --> 00:47:55.440
Ashly Lovett: I don't know how I managed to do that magic trick, either.

536
00:47:58.440 --> 00:48:07.440
Ashly Lovett: I'm trying to push this someplace fun, but I'm not liking, it's going to, I guess I'll just keep polishing it

537
00:48:09.630 --> 00:48:15.180
Ashly Lovett: Looks while I appreciate to me looks super funky and just keep going with it.

538
00:48:16.470 --> 00:48:19.380
Bill Koeb: Reminds me of Greg's like a strange

539
00:48:22.020 --> 00:48:23.130
Bill Koeb: Do you know his drawings

540
00:48:24.420 --> 00:48:29.220
Ashly Lovett: I might. It doesn't ring a bell. But I have to look it up after this

541
00:48:29.550 --> 00:48:32.520
John English: Bill, I have a life drawing of Greg's really

542
00:48:34.020 --> 00:48:39.630
John English: Did probably 20 years ago at the Academy is that we were speaking. There's beautiful

543
00:48:40.110 --> 00:48:40.740
Montalvo Machado: I was there.

544
00:48:43.110 --> 00:48:49.590
Bill Koeb: I remember visiting Greg in the 90s and stay at his house. He was in Woodside

545
00:48:51.390 --> 00:48:52.290
Montalvo Machado: You didn't would say

546
00:48:52.860 --> 00:48:55.050
Bill Koeb: Yeah, California.

547
00:48:55.650 --> 00:48:57.210
Montalvo Machado: Oh no, I lived in Woodstock, New York.

548
00:48:57.540 --> 00:48:58.830
Bill Koeb: I'm sorry Woodland Hills.

549
00:49:00.030 --> 00:49:01.770
Bill Koeb: Anyways, there's Woodland Hills. I'm sorry.

550
00:49:04.110 --> 00:49:05.280
Bill Koeb: In the valley. I don't know.

551
00:49:07.590 --> 00:49:17.340
Bill Koeb: Why this beautiful large figurative painting. It was about the size of the door, and it was oil and different glazes

552
00:49:18.750 --> 00:49:20.280
Bill Koeb: And I just started the thing just glowed

553
00:49:22.500 --> 00:49:24.240
John English: To get him in here. He's good.

554
00:49:24.630 --> 00:49:35.130
Bill Koeb: He is really good. I love the way he also just we did some mana types together many years ago and I love the way he draws the figure and yeah

555
00:49:38.310 --> 00:49:41.670
Bill Koeb: Yeah. And the way you can put in the way he cut and paste things out and

556
00:49:44.310 --> 00:49:46.470
Bill Koeb: You know, it just composes

557
00:49:50.460 --> 00:49:53.670
John English: Now he's done a opposed to try and something different.

558
00:49:56.610 --> 00:50:00.000
John English: He tells the funniest story. He was roommates with Matt Murray.

559
00:50:00.630 --> 00:50:01.110
Bill Koeb: Oh,

560
00:50:01.830 --> 00:50:04.410
John English: The story about Matt throwing the piece off the balcony.

561
00:50:05.010 --> 00:50:06.060
Bill Koeb: Tell that story, but

562
00:50:07.350 --> 00:50:07.890
John English: I love it.

563
00:50:08.250 --> 00:50:11.190
Bill Koeb: great storyteller yeah that's that's a great story.

564
00:50:14.460 --> 00:50:18.510
Bill Koeb: But, you know, the funny thing about Greg is that, to me, his voice sounds a lot like Joe Pesci

565
00:50:19.380 --> 00:50:20.010
Yeah.

566
00:50:22.260 --> 00:50:26.010
Bill Koeb: He telling the story you know he's telling it like Joe Pesci voice.

567
00:50:30.180 --> 00:50:31.650
Montalvo Machado: He's such a character, but

568
00:50:32.640 --> 00:50:33.540
Bill Koeb: It's a great story.

569
00:50:34.710 --> 00:50:37.470
John English: He was, he was talking about a

570
00:50:41.070 --> 00:50:48.780
John English: Learning that is instructor gave him a critique when they were at Art Center, and it was really bummed out about it and he said that instructor was trying to

571
00:50:49.470 --> 00:50:57.000
John English: Give him all this advice and he worked on it again. It took back in the instructor given another critique and it went back and forth. He said he just could never be happy.

572
00:50:57.840 --> 00:51:11.790
John English: And so I met her and lived in an apartment complex and he opened the sliding door and walked out onto the balcony. And he said, Greg, you know, sometimes the best thing you can do is just let go. And he asked it like a frisbee.

573
00:51:15.930 --> 00:51:18.510
John English: It was it was in the end he was so

574
00:51:20.640 --> 00:51:25.260
John English: This animated telling the story. He got he got upset all over again. It was

575
00:51:25.800 --> 00:51:32.670
Bill Koeb: Funny, he's hilarious. He's like, and I was downstairs I went and grabbed the piece. And I had to go get it and I was like,

576
00:51:33.810 --> 00:51:34.410
Bill Koeb: You know,

577
00:51:34.650 --> 00:51:37.860
John English: When Tom. Are you there when we had to take Greg to the emergency room.

578
00:51:38.610 --> 00:51:41.970
Bill Koeb: No, but I he's told that story he told that story for

579
00:51:43.320 --> 00:51:44.370
John English: blew his knee out

580
00:51:44.820 --> 00:51:45.120
Bill Koeb: And

581
00:51:45.540 --> 00:51:46.230
Montalvo Machado: I wasn't there.

582
00:51:46.530 --> 00:51:51.300
John English: He was that we were out in the long after lunch at the college that we were doing the academy at

583
00:51:54.990 --> 00:52:03.390
John English: Take I take my athleticism pretty seriously he said the group of young guys are throwing a football around and Greg says okay, he goes where it because

584
00:52:03.990 --> 00:52:14.430
John English: They're going to throw to me. You're going to defend me so we both jumped up to grab the ball to jump the ball Greg is maybe 110 pounds maximum. He's a little tiny guy.

585
00:52:15.300 --> 00:52:23.910
John English: And I came down and with the ball in my hand and I looked down Greg's up on the ground and he totally just dislocated his knee.

586
00:52:25.020 --> 00:52:26.370
John English: I felt I felt horrible.

587
00:52:28.260 --> 00:52:30.840
John English: But better him to me at that point.

588
00:52:34.380 --> 00:52:35.400
C. F. Payne: You got the ball.

589
00:52:36.270 --> 00:52:38.790
Montalvo Machado: Yeah, it was a you've got the ball.

590
00:52:39.810 --> 00:52:49.950
Bill Koeb: Where the, the, the rest of the story. You know Greg gets his piece. He says it's been run over by cars you know it's good mash and he picks it up its face down on the ground, it goes I pick it up.

591
00:52:51.450 --> 00:52:52.860
Bill Koeb: I'm like, oh,

592
00:52:54.300 --> 00:52:54.690
Bill Koeb: Man.

593
00:52:55.080 --> 00:52:55.350
It's

594
00:52:56.940 --> 00:52:57.690
Bill Koeb: A lot better.

595
00:52:58.350 --> 00:53:03.450
John English: I bet many people in here, don't know too many people don't know, Matt. Matt murders.

596
00:53:04.110 --> 00:53:04.620
Yeah.

597
00:53:06.570 --> 00:53:10.230
Bill Koeb: Here's um if you go to my screen. I've got. I got one of grapes pieces here.

598
00:53:15.570 --> 00:53:16.740
Montalvo Machado: Oh geez.

599
00:53:18.420 --> 00:53:18.780
Bill Koeb: Yeah.

600
00:53:19.020 --> 00:53:22.740
John English: Hold on. Give me a second. Let me, let me get you. Hold on.

601
00:53:23.940 --> 00:53:27.990
Ashly Lovett: I have one of his postcards that I got from spectrum, a while back.

602
00:53:28.290 --> 00:53:30.930
John English: You see the vertical lines in that

603
00:53:31.380 --> 00:53:33.450
John English: Yeah strapping tape.

604
00:53:33.780 --> 00:53:42.840
John English: Yeah, we're doing drawing and he puts you do layers and the put strapping tape in between the layers as the next layer. Yeah. Clear strapping to

605
00:53:44.940 --> 00:53:47.610
Bill Koeb: Acrylic and oil, a whole bunch of other stuff.

606
00:53:50.580 --> 00:53:51.270
It was fine.

607
00:53:52.830 --> 00:53:54.900
I gotta go back to Ashley here and spotlight.

608
00:53:56.040 --> 00:53:57.420
John English: I'm not doing my job. Hold on.

609
00:54:00.000 --> 00:54:03.060
Ashly Lovett: Well, I was, I stopped drawing for a second to look at that, anyway.

610
00:54:04.290 --> 00:54:06.840
Bill Koeb: That was probably a good thing because it loosened up

611
00:54:09.690 --> 00:54:12.180
Ashly Lovett: So he liked the piece after his run over.

612
00:54:12.930 --> 00:54:13.410
Better

613
00:54:16.260 --> 00:54:18.000
Ashly Lovett: Account since like happy accidents.

614
00:54:18.480 --> 00:54:21.930
Bill Koeb: You tell the full story he's like really pissed off. And he's like, oh,

615
00:54:26.520 --> 00:54:29.880
Bill Koeb: And so yeah, I think he liked it more after this

616
00:54:33.750 --> 00:54:37.170
Bill Koeb: I can't imagine playing football, that's a hard thing to

617
00:54:39.510 --> 00:54:42.210
Bill Koeb: Not in the realm of like something I can picture.

618
00:54:44.190 --> 00:54:46.170
C. F. Payne: What didn't work out, though, that's for sure.

619
00:54:46.470 --> 00:54:47.310
Bill Koeb: Yeah, I can.

620
00:54:54.510 --> 00:55:00.300
Ashly Lovett: I'm kind of are you doing this. I think the reason I was getting frustrated is because it's a very like high key.

621
00:55:01.380 --> 00:55:02.610
Ashly Lovett: Piece, like if you're just

622
00:55:02.820 --> 00:55:04.200
Ashly Lovett: Focusing on the face.

623
00:55:04.680 --> 00:55:22.560
Ashly Lovett: Yeah, and trying to dive in there with all these colors as quickly as possible when normally I might like safe. This was a longer pose. I'd layer and layer and layer, I realized I have to have to go at this a little bit differently. And that took me a while to kind of decide on

624
00:55:24.480 --> 00:55:30.390
Ashly Lovett: It's better, but it's still, it's kind of like a mess. But you know, that's the point of playing around.

625
00:55:32.430 --> 00:55:37.110
Bill Koeb: I was trying to explain to somebody recently how artists are like our own worst enemies.

626
00:55:37.470 --> 00:55:37.950
Ashly Lovett: Oh, yeah.

627
00:55:39.690 --> 00:55:42.510
Bill Koeb: There's so many times, I'll be watching somebody draw

628
00:55:44.070 --> 00:55:50.940
Bill Koeb: And I love what they're doing and they just keep going. And this is no reflection on anything you're doing so just

629
00:55:52.170 --> 00:55:52.980
Bill Koeb: start connecting but

630
00:55:53.040 --> 00:55:55.680
Bill Koeb: Yeah. Want to take the material out of their

631
00:55:58.230 --> 00:55:58.770
Ashly Lovett: Credit

632
00:55:59.190 --> 00:55:59.790
It's good.

633
00:56:03.540 --> 00:56:14.610
Ashly Lovett: So I'm trying to go and like, especially this area here because I love how they've got that green reflection underneath and trying to figure out what I guess I could make it black and white it again to figure that out but

634
00:56:15.660 --> 00:56:19.620
Ashly Lovett: Like what is that value in relation to here, here, here in all that and

635
00:56:20.250 --> 00:56:21.480
Bill Koeb: Oh yeah, no, I know it's me.

636
00:56:21.840 --> 00:56:22.230
So,

637
00:56:23.340 --> 00:56:25.980
Ashly Lovett: And I had the ear in the wrong place. I had to move that around.

638
00:56:30.090 --> 00:56:33.960
Ashly Lovett: So now I'm trying to pull it all together with some actual line work.

639
00:56:35.460 --> 00:56:37.020
Ashly Lovett: And seeing if I like that.

640
00:56:38.400 --> 00:56:50.220
Ashly Lovett: And figuring out what the heck to do with this with as far as making this continue to pop, but maybe, maybe it could be a different color. I don't know how to find out. This is a good decision.

641
00:56:51.810 --> 00:56:54.180
Ashly Lovett: What do I got to work with maybe

642
00:57:04.230 --> 00:57:07.950
Ashly Lovett: I need a throw in some for some way

643
00:57:09.450 --> 00:57:10.680
Ashly Lovett: To push this

644
00:57:12.690 --> 00:57:13.770
Ashly Lovett: Had a really good read.

645
00:57:15.600 --> 00:57:19.680
Ashly Lovett: Might have fallen on the floor with the rest of the casualties me

646
00:57:24.180 --> 00:57:28.080
John English: Actually you'll appreciate that you know the the illustrator.

647
00:57:29.250 --> 00:57:31.770
John English: And great artist in general john Collier

648
00:57:33.840 --> 00:57:40.470
John English: One of my one of my favorite artists and I was fortunate enough to that he taught at the University of Kansas for

649
00:57:41.640 --> 00:57:46.590
John English: The first two years or for only two years I was there and

650
00:57:47.760 --> 00:57:50.310
John English: He was a pastel guy and I go to the studio and

651
00:57:52.050 --> 00:57:55.320
John English: Kind of help them clean up the studio and it was watching him finish this piece.

652
00:57:56.460 --> 00:58:00.390
John English: Here all these pastels all over the floor that he'd been walking on there was

653
00:58:00.390 --> 00:58:01.470
John English: Just a total mess.

654
00:58:02.460 --> 00:58:07.650
John English: To me just putting the finishing touches on this piece. And he reached down on the floor and grab the piece.

655
00:58:08.850 --> 00:58:15.480
John English: Like two little marks on the piece, the piece itself with this little you know pastel. It was a half an inch long.

656
00:58:17.940 --> 00:58:18.630
Ashly Lovett: Back on the board.

657
00:58:23.220 --> 00:58:26.160
Ashly Lovett: Yeah, cleaning my studio is quite, quite a chore.

658
00:58:27.360 --> 00:58:40.470
Ashly Lovett: Um, I use a lot of those like slippers is amazing. But I purposely have like this really intricate looking carpet. So it kind of hides all the pastel that falls.

659
00:58:40.920 --> 00:58:42.240
Ashly Lovett: Short. Yeah.

660
00:58:43.440 --> 00:58:51.720
Ashly Lovett: But I usually once a month, I end up having to do like a hardcore just cleaning of every surface because it gets ridiculous. I've wanted to do like a setup that has

661
00:58:52.170 --> 00:59:03.120
Ashly Lovett: air vents on the sides that would then as I'm working suck all the excess pastel and then take it out of because I have like a little window over here.

662
00:59:04.170 --> 00:59:06.030
Ashly Lovett: So maybe we'll do that eventually

663
00:59:08.130 --> 00:59:11.790
John English: I do that with my own opinion setup. I have my fear.

664
00:59:13.590 --> 00:59:23.250
John English: My lights and it blows it blows the chemicals to from from left to right, my kit. My palate suddenly right

665
00:59:23.430 --> 00:59:23.940
John English: So all the

666
00:59:23.970 --> 00:59:28.860
John English: Fumes for the pain goes goes into my, into the rest of the house where my family is

667
00:59:31.680 --> 00:59:33.180
Bill Koeb: Here to share the love there.

668
00:59:33.990 --> 00:59:42.240
Ashly Lovett: Well, I definitely I have all of my like books and stuff on the far this area of the studio side know that it'll get covered in pastel dust otherwise.

669
00:59:48.930 --> 01:00:00.390
Ashly Lovett: Yeah, I'm kind of wondering what we'll do, as far as like with the baby in the studio. I don't know. We're gonna have to figure something out because it gets really the floor just gets ridiculous.

670
01:00:03.990 --> 01:00:06.180
Bill Koeb: My dad biodegradable pesto.

671
01:00:07.980 --> 01:00:09.060
Ashly Lovett: biodegrade about what

672
01:00:12.990 --> 01:00:13.530
Bill Koeb: Do you mean it's

673
01:00:15.510 --> 01:00:18.330
Ashly Lovett: I heard pet stoves men. I know that's not what he's

674
01:00:25.590 --> 01:00:28.290
Bill Koeb: Your firstborn. It's really easy to keep them away from everything

675
01:00:28.470 --> 01:00:30.270
Ashly Lovett: Oh yeah, it's mobile

676
01:00:32.850 --> 01:00:33.720
Bill Koeb: You got some time.

677
01:00:36.360 --> 01:00:37.680
Ashly Lovett: Just like what to do.

678
01:00:38.460 --> 01:00:38.790
Ashly Lovett: It's when

679
01:00:39.420 --> 01:00:40.950
John English: It's when they start driving

680
01:00:41.790 --> 01:00:42.150
Hey,

681
01:00:43.710 --> 01:00:44.310
Bill Koeb: Yeah.

682
01:00:44.940 --> 01:00:47.370
John English: And they have a completely different opinion on

683
01:00:49.080 --> 01:00:50.160
John English: how you see the world.

684
01:00:52.020 --> 01:00:52.590
Bill Koeb: Right.

685
01:00:54.660 --> 01:00:55.950
John English: Now, just in general.

686
01:00:56.310 --> 01:00:56.670
Yeah.

687
01:00:57.840 --> 01:00:59.850
C. F. Payne: I may ask you, can I pierce my nipples.

688
01:01:03.060 --> 01:01:04.200
Ashly Lovett: G will occur.

689
01:01:05.490 --> 01:01:06.180
John English: That's okay.

690
01:01:07.560 --> 01:01:09.330
John English: Once, once you learned it. That's okay.

691
01:01:10.410 --> 01:01:16.860
John English: My favorite one of my favorite things. My son, every day, my oldest son was he shaved his eyebrows off.

692
01:01:17.370 --> 01:01:18.090
Nice.

693
01:01:23.280 --> 01:01:26.490
John English: It is. Excuse me. Is that his rationale was even better.

694
01:01:27.540 --> 01:01:42.210
John English: You tell the I can hear my, my wife with a very been very vocal we were packing to go to Disney World for a week and she was all upset. She says, you're just going to look ridiculous and all of our photographs. He was all upset.

695
01:01:43.800 --> 01:01:49.350
John English: She came downstairs. She made him come downstairs and talk to me. I was trying to finish up a project and

696
01:01:51.240 --> 01:01:52.230
John English: He's standing there.

697
01:01:53.580 --> 01:02:01.590
John English: And he looked ridiculous. It was in the middle of summer. And he was very Tanja blond hair. Does he have these like white white balls over his eyes and

698
01:02:03.480 --> 01:02:09.900
John English: He said, I asked him. I asked him why did that his rationale was great his older sister.

699
01:02:10.920 --> 01:02:18.330
John English: Who said, you know, Rachel shaves she says her arms or legs and and says, I don't have anything to say. So I said my head.

700
01:02:23.250 --> 01:02:24.600
John English: I thought that was terrific.

701
01:02:26.910 --> 01:02:29.760
John English: And then he asked me what what what the punishment was he

702
01:02:31.110 --> 01:02:34.560
John English: Thought I was going to punish me and I just laughed. I said, Dude, you're wearing it.

703
01:02:38.370 --> 01:02:41.430
John English: Really upset, he was like, I gotta walk around like this.

704
01:02:42.840 --> 01:02:45.000
Ashly Lovett: He drew the line like even in that was

705
01:02:48.000 --> 01:02:52.200
Bill Koeb: Nothing you can do that's worse than what do you do so. That's right.

706
01:02:54.870 --> 01:02:56.970
C. F. Payne: John you remember Trevor, and despite care.

707
01:02:57.180 --> 01:02:58.170
Oh, absolutely.

708
01:03:00.690 --> 01:03:01.140
Me.

709
01:03:05.250 --> 01:03:08.670
C. F. Payne: Well, elementary school for hair line.

710
01:03:08.940 --> 01:03:10.380
John English: personal expression.

711
01:03:11.190 --> 01:03:12.120
C. F. Payne: That's it, man.

712
01:03:13.590 --> 01:03:15.270
John English: gotta gotta do what you're gonna do.

713
01:03:15.870 --> 01:03:27.090
Bill Koeb: When Gabriel was about three or four he met his cousin who had really spiked hair. So, I mean, that was kind of it for a little bit. He was spike in his hair.

714
01:03:29.220 --> 01:03:33.120
Bill Koeb: Then he wanted to put redness hair so we're like, yeah, sure, whatever that

715
01:03:34.290 --> 01:03:34.860
Bill Koeb: You know,

716
01:03:35.610 --> 01:03:54.090
John English: We were on the Ringling campus doing the academy right in the town next door is Bradenton, my son was a good athlete. A good tennis player and he had an opportunity to go to the the the Nick voluntary tennis Academy there. Yeah, um,

717
01:03:56.430 --> 01:04:03.480
John English: After his first week I went to pick him up. He was going to spend the weekend with me. I picked him up and he had a mock

718
01:04:05.010 --> 01:04:05.460
Ashly Lovett: There's

719
01:04:05.700 --> 01:04:06.180
There you go.

720
01:04:07.500 --> 01:04:13.650
John English: And then I thought it was great. Yeah, that was what he wanted to do. That was his expression.

721
01:04:14.130 --> 01:04:14.520
Yeah.

722
01:04:21.120 --> 01:04:23.910
Bill Koeb: And they're gonna do that stuff. Anyway, so

723
01:04:25.020 --> 01:04:25.260
Yeah.

724
01:04:26.850 --> 01:04:27.780
John English: I'm thinking about it.

725
01:04:32.460 --> 01:04:34.350
John English: I've had the same haircut. Since I was 12

726
01:04:38.850 --> 01:04:39.960
John English: Well, I shouldn't say that.

727
01:04:40.020 --> 01:04:42.930
John English: I didn't because my hairline keeps receiving so

728
01:04:43.980 --> 01:04:49.410
John English: I'm just chasing the part in my hair is it my hair gets gradually goes back on my head.

729
01:04:51.900 --> 01:04:54.150
John English: But basically in concept. It's the same

730
01:05:00.480 --> 01:05:02.520
C. F. Payne: When we get to talk about tattoos.

731
01:05:05.640 --> 01:05:09.930
John English: Who's gonna be good and the latter, I met with a tattoo designer today.

732
01:05:10.110 --> 01:05:12.150
C. F. Payne: When you, when you give them to yourself.

733
01:05:12.480 --> 01:05:12.780
Oh,

734
01:05:13.890 --> 01:05:14.220
Bill Koeb: Oh,

735
01:05:15.990 --> 01:05:19.110
Ashly Lovett: We don't know what you're doing is that would to me.

736
01:05:20.730 --> 01:05:22.590
C. F. Payne: And the ink is is from a big

737
01:05:22.650 --> 01:05:25.980
10

738
01:05:27.570 --> 01:05:28.410
John English: You mean the prison.

739
01:05:29.490 --> 01:05:29.910
Bill Koeb: Yeah.

740
01:05:32.730 --> 01:05:34.230
Audrey Benjaminsen: Oh my god. Have you really

741
01:05:34.860 --> 01:05:43.470
Audrey Benjaminsen: Not the perfect time I had a micron and I was gonna slam the cap back on, you know, just a little pop and I usually jam the micron through my head.

742
01:05:44.400 --> 01:05:44.910
Ashly Lovett: Not like

743
01:05:48.000 --> 01:05:48.600
Audrey Benjaminsen: The whole time.

744
01:05:49.500 --> 01:05:53.430
Audrey Benjaminsen: Oh yeah, so I have a.on my, on my watching and

745
01:05:55.110 --> 01:05:55.590
Audrey Benjaminsen: Just

746
01:05:56.790 --> 01:05:57.300
Audrey Benjaminsen: Right now.

747
01:06:02.700 --> 01:06:04.620
John English: That's a big time artistic injury.

748
01:06:05.400 --> 01:06:08.640
Audrey Benjaminsen: Yeah, I was just like so shocked that I didn't hurt.

749
01:06:24.570 --> 01:06:24.810
Ashly Lovett: This

750
01:06:25.170 --> 01:06:26.220
Ashly Lovett: Is gonna be one that

751
01:06:27.270 --> 01:06:31.680
Ashly Lovett: As soon as I get further away from it, you're like oh yeah that's that's awesome, that's

752
01:06:33.210 --> 01:06:34.500
Bill Koeb: Great. What are the colors.

753
01:06:35.040 --> 01:06:37.380
Bill Koeb: The top of her color.

754
01:06:37.740 --> 01:06:48.600
Ashly Lovett: Yeah, there's basically areas that I like, like I like how that looks and how those looks, but then like it all together, maybe not so much but that's okay.

755
01:06:50.940 --> 01:06:51.570
John English: I mean, it's true.

756
01:06:52.230 --> 01:06:53.640
Bill Koeb: Yeah, I think it looks great.

757
01:06:54.450 --> 01:06:59.190
Ashly Lovett: I'm happy with it for being, you know, a 20 minute pose on newsprint you know

758
01:07:00.240 --> 01:07:04.980
Ashly Lovett: That doesn't bother me so much, but there are things about it that I wish I could have popped a little better.

759
01:07:06.750 --> 01:07:15.810
John English: That's, that's my failsafe promised a dinner with a bunch of my not artists friends over the weekend, and there they always asked me, they always seem interested

760
01:07:16.500 --> 01:07:23.700
John English: You know, being polite. They asked me what I'm doing and I saw my Instagram. But I'm always clear to tell them I did this in 20 minutes

761
01:07:33.090 --> 01:07:34.200
Ashly Lovett: How are we on time.

762
01:07:34.530 --> 01:07:36.870
John English: Yeah, just tuned happiness.

763
01:07:37.140 --> 01:07:37.470
John English: Alright.

764
01:07:38.310 --> 01:07:44.940
Ashly Lovett: How are you, that's a big decision time. I'm just going to try to figure out this area, and we'll see

765
01:07:45.960 --> 01:07:51.000
Ashly Lovett: What happens, and maybe just popping and stuff that's not actually in the photo.

766
01:07:52.170 --> 01:07:53.370
John English: Totally take what you need.

767
01:07:57.630 --> 01:07:59.790
Ashly Lovett: right not to be too shy about bringing

768
01:08:01.860 --> 01:08:08.910
Ashly Lovett: Work making close to the edge of this face because I realized I'm like all timid and I need to not be you just go for it.

769
01:08:11.010 --> 01:08:12.630
Bill Koeb: Your work doesn't look like you're timid

770
01:08:13.890 --> 01:08:20.580
Ashly Lovett: I think it's just I try not to over. I try not to think too too much overthink things

771
01:08:20.670 --> 01:08:27.870
Ashly Lovett: Too much which is sometimes is a good thing. And then sometimes it's it leads to yeses.

772
01:08:32.130 --> 01:08:41.790
Audrey Benjaminsen: I really like about your work, Ashley that I can tell that you don't stop when it's good. You like stop when you'd like pushed past like

773
01:08:42.720 --> 01:08:43.950
Ashly Lovett: That means I overwork it

774
01:08:46.680 --> 01:08:48.630
Audrey Benjaminsen: Let me, let me continue what I'm saying.

775
01:08:49.050 --> 01:09:03.990
Audrey Benjaminsen: Like, like you, like, take it from, like, Good to Great were a lot of people would like stop at least just good and I feel like at that point, you're like, it's like you can you can have a good sense of potential with texture, we just saw. Awesome.

776
01:09:04.380 --> 01:09:07.560
Ashly Lovett: I appreciate. I know whenever I was when I would

777
01:09:08.040 --> 01:09:17.940
Ashly Lovett: Figure classes, I'd end up just, I mean, look, whatever I had was looking nice. But I just wasn't happy enough with it. And I remember just going in someone's like,

778
01:09:20.220 --> 01:09:21.270
Ashly Lovett: Like, well, I mean,

779
01:09:22.560 --> 01:09:26.250
Ashly Lovett: If I did it once, technically, can I do it again.

780
01:09:27.270 --> 01:09:27.780
Ashly Lovett: Maybe

781
01:09:28.860 --> 01:09:29.640
Ashly Lovett: I appreciate that.

782
01:09:30.120 --> 01:09:33.630
Audrey Benjaminsen: Yeah, but that's what I mean. I hope I didn't explain them like

783
01:09:33.990 --> 01:09:36.360
Ashly Lovett: Oh no no i i took that I know that

784
01:09:36.450 --> 01:09:37.440
Audrey Benjaminsen: Is a compliment.

785
01:09:38.370 --> 01:09:45.300
Audrey Benjaminsen: You don't know when to stop. You do know when to stop. And it's like a bit further than somebody who's not you might guess

786
01:09:46.470 --> 01:09:47.220
John English: What segue.

787
01:09:49.170 --> 01:09:51.360
John English: There we go. You can take more time.

788
01:09:52.890 --> 01:09:54.600
Ashly Lovett: Okay, I might play around with it.

789
01:09:56.400 --> 01:09:57.120
Ashly Lovett: In the next

790
01:09:58.140 --> 01:09:58.380
Bill Koeb: Well,

791
01:09:58.500 --> 01:10:08.670
Ashly Lovett: While we're supposed to be working on the next one. Just this dumb year. I don't like this year and then you figure out, I need to get some work making to make that pop the right way, I want

792
01:10:09.870 --> 01:10:12.120
Ashly Lovett: It. Yeah, she just won't have in your

793
01:10:12.840 --> 01:10:14.190
Bill Koeb: Car, the arrows here.

794
01:10:14.820 --> 01:10:15.480
Ashly Lovett: We go.

795
01:10:18.090 --> 01:10:19.200
John English: Okay, now

796
01:10:19.800 --> 01:10:23.520
John English: Actually let's bounce around the room. You're up next, and I'm going to

797
01:10:24.870 --> 01:10:25.230
Bill Koeb: Draw

798
01:10:26.910 --> 01:10:28.620
Bill Koeb: And I know what that it really looks like.

799
01:10:28.950 --> 01:10:29.760
John English: Hey, Chris before.

800
01:10:31.980 --> 01:10:36.450
John English: To see the drawing you just did. But I'm going to come to you last I'm going to jump over to Bill code real quick.

801
01:10:39.720 --> 01:10:40.320
C. F. Payne: There we go.

802
01:10:45.420 --> 01:10:51.720
Bill Koeb: I just, you know, it is what it is. And I want to watch everybody else drop. All right, Mike.

803
01:10:51.780 --> 01:10:52.440
tahmoh

804
01:10:55.260 --> 01:10:56.610
John English: Spotlight Montalvo

805
01:10:58.230 --> 01:10:59.640
John English: You're getting into it Montalvo

806
01:11:03.030 --> 01:11:03.450
Montalvo Machado: It's

807
01:11:03.570 --> 01:11:04.200
Montalvo Machado: It's getting fun

808
01:11:06.030 --> 01:11:07.710
Montalvo Machado: Bring up some highlights here here.

809
01:11:08.130 --> 01:11:09.540
John English: Okay if I share Audrey.

810
01:11:10.080 --> 01:11:11.130
Audrey Benjaminsen: Oh, absolutely.

811
01:11:14.640 --> 01:11:15.390
Ashly Lovett: There we go.

812
01:11:17.340 --> 01:11:17.850
John English: Very nice.

813
01:11:18.000 --> 01:11:18.780
Ashly Lovett: I'm really digging that

814
01:11:19.440 --> 01:11:20.220
John English: I can lot

815
01:11:21.600 --> 01:11:24.090
Montalvo Machado: Nice. Really nice. Alright.

816
01:11:24.540 --> 01:11:26.880
John English: So we're going to jump over to Chris Payne

817
01:11:27.990 --> 01:11:30.270
John English: And Chris is going to do the next pose.

818
01:11:32.700 --> 01:11:35.940
John English: freckled girl with lots of hair.

819
01:11:36.690 --> 01:11:39.060
John English: Yep, freckled woman with lots of hair. Excuse me.

820
01:11:41.520 --> 01:11:46.470
John English: So Chris, where are you, oh wait, I gotta move. Hold on.

821
01:11:46.830 --> 01:11:47.940
Bill Koeb: That's great. Audrey.

822
01:11:50.220 --> 01:11:50.880
Montalvo Machado: Yeah.

823
01:11:51.900 --> 01:11:53.370
Bill Koeb: Stop right there. It's gorgeous.

824
01:11:54.870 --> 01:11:57.300
Bill Koeb: That's what Christian nice

825
01:11:58.980 --> 01:12:00.090
John English: Very, very nice.

826
01:12:01.020 --> 01:12:04.170
Ashly Lovett: All right, Chris Christmas I see like highlights. I want to add to mine.

827
01:12:05.220 --> 01:12:08.010
Ashly Lovett: That's always the fun part about looking at everybody's work like

828
01:12:08.040 --> 01:12:10.410
Ashly Lovett: Oh, I could solve this problem, the way they did, but

829
01:12:10.440 --> 01:12:19.830
John English: What I always did it mostly trying nice that the academy. I give a little extra time I'd sit close to George and I just finished my drawing from his

830
01:12:21.480 --> 01:12:21.780
John English: Blog.

831
01:12:25.200 --> 01:12:26.400
John English: He had all the information

832
01:12:27.990 --> 01:12:28.200
C. F. Payne: That's

833
01:12:28.860 --> 01:12:36.150
Audrey Benjaminsen: Interesting. I'm better reminds me, I love how people interpret things

834
01:12:37.140 --> 01:12:45.990
Audrey Benjaminsen: Um, when I was in, I was like, doing some work in art therapy. There was one client I had that I would actually make collages for him.

835
01:12:46.200 --> 01:12:57.990
Audrey Benjaminsen: Because all he would do was interpret what was in front of them. He didn't even come up with a lot of concepts. So if he was interpreting something that was already interpretive like you said you did with George. It was so amazing.

836
01:12:58.050 --> 01:13:00.360
Audrey Benjaminsen: To see what he would come up with

837
01:13:01.590 --> 01:13:05.460
Audrey Benjaminsen: That's it's such a cool like thing to hear that you guys do to

838
01:13:07.020 --> 01:13:07.590
C. F. Payne: shovel it gets

839
01:13:08.640 --> 01:13:10.440
C. F. Payne: You tell me when you Mama, just start showing

840
01:13:10.710 --> 01:13:12.720
John English: When you start out, I'll press the button.

841
01:13:13.830 --> 01:13:15.210
C. F. Payne: Well, let's get rolling here.

842
01:15:07.680 --> 01:15:08.820
John English: Bruce would run with

843
01:15:09.960 --> 01:15:15.540
C. F. Payne: Just a gray on great paper with a charisma color. It's called chestnut.

844
01:15:16.680 --> 01:15:29.190
C. F. Payne: That's that's always kind of what I start off with, and then I start playing around with other stuff every now and then sticking some greys or some lighter tones in life, almost always kind of start with this chestnut color.

845
01:15:30.510 --> 01:15:31.230
John English: Why do you like it.

846
01:15:31.800 --> 01:15:32.670
C. F. Payne: It just, I like that.

847
01:15:33.870 --> 01:15:36.810
C. F. Payne: Because its opposite of what Tom Hardy uses now I'm

848
01:15:40.290 --> 01:15:55.890
C. F. Payne: Not, you know, years ago when I was doing a lot of my sketching. I was drawing with a pumpkin console. And I really liked that. But somehow or another just this that this color work so nice for when I if I decided to go over it, roll over with the paint roller

849
01:15:58.050 --> 01:16:02.940
C. F. Payne: It's got enough you know gumption to it that you know it doesn't have glitter can obliterate it

850
01:16:08.100 --> 01:16:09.750
C. F. Payne: But I just I just

851
01:16:10.950 --> 01:16:13.230
C. F. Payne: Have so much fun with this, with this pencil.

852
01:16:16.740 --> 01:16:19.050
C. F. Payne: I go through them like you can't believe

853
01:16:21.030 --> 01:16:21.780
John English: I can believe

854
01:16:25.890 --> 01:16:36.720
C. F. Payne: I'll tell you right now, like you said john for school. School is just as we're going to be having session coming up here in October and I'm trying to get my guest speakers and

855
01:16:37.890 --> 01:16:40.020
C. F. Payne: I'm trying to learn how to record.

856
01:16:41.820 --> 01:16:48.810
C. F. Payne: So that I can have more than just simply talks that are, you know, the standard format talk

857
01:16:50.400 --> 01:16:52.890
C. F. Payne: I can show process and things like that.

858
01:16:55.200 --> 01:16:58.770
C. F. Payne: And you know what a wonderful computer guy I am

859
01:17:00.420 --> 01:17:01.290
John English: You're on top of it.

860
01:17:02.580 --> 01:17:11.430
C. F. Payne: Well student success. It's, you know, it seems like it's when I start doing this. It's like the proof. We're at the end of the apocalypse here because

861
01:17:13.860 --> 01:17:15.600
C. F. Payne: I mean, I'm not, I'm not in

862
01:17:17.550 --> 01:17:24.960
C. F. Payne: Some artists who will not name, who are true Luddites, I'm not in his turf, but you know, I'm close

863
01:17:28.080 --> 01:17:30.240
John English: Nothing wrong with it now.

864
01:17:30.270 --> 01:17:42.840
C. F. Payne: But you know, I just find, you know, for, for what we're trying to do for our students. I've got to give them more. We've got to get more content that's really valuable and it can't be just a bunch of show and tells

865
01:17:44.130 --> 01:17:45.870
Bill Koeb: I agree. Yeah.

866
01:17:46.470 --> 01:17:50.160
John English: That's always you know it's interesting when you go online.

867
01:17:51.780 --> 01:17:56.010
John English: To me really pointed this out to me a while back. He's like,

868
01:17:57.090 --> 01:18:11.070
John English: Our competition isn't other art schools, our competition is Netflix, you know, you're again you're delivering art school information, but you're competing with screen time you're competing with the amount of time people spend on their screen every day.

869
01:18:11.700 --> 01:18:13.530
C. F. Payne: Hey, by the way, I don't, I don't know if

870
01:18:14.970 --> 01:18:23.550
C. F. Payne: Some of our Hartford students are here, but like, I've even seen some of the stuff those guys have been posting. I mean Hoochie mama. They are really

871
01:18:25.020 --> 01:18:33.690
C. F. Payne: I wish I could take credit for it. But there, it's just, it's all on there, man. They're just doing some really fantastic stuff and couldn't be happier for him.

872
01:18:35.490 --> 01:18:35.880
John English: Good.

873
01:18:38.280 --> 01:18:39.420
John English: signing it works.

874
01:18:40.110 --> 01:18:54.270
C. F. Payne: Well, and they're usually here. They're usually here, you know, and I think, you know, this particular program here what you're doing here. Again, I'm sure, Bill, everybody in this room agrees. There's only one way you get better and you got to make art.

875
01:18:54.900 --> 01:18:55.290
Bill Koeb: Yeah.

876
01:18:55.560 --> 01:18:56.370
C. F. Payne: You got to make it

877
01:18:58.620 --> 01:19:03.210
John English: Now, a lot of my portfolio reviews come down to this. It's like

878
01:19:04.890 --> 01:19:06.690
John English: How did you position yourself.

879
01:19:08.190 --> 01:19:12.570
John English: To succeed. And if you've been spending a lot of time or

880
01:19:13.710 --> 01:19:29.400
John English: Are you having success with what you're doing. And I think that's a really big part of, you know, taking control of your career, I think, I think one of the biggest killers of people's career, the biggest the biggest issues is time and

881
01:19:31.230 --> 01:19:37.710
John English: People have a dream of becoming an artist and then over it. Over time, whatever it is, whether it's

882
01:19:38.790 --> 01:19:43.740
John English: You know, finance or romance or location, whatever it is. The their

883
01:19:43.800 --> 01:19:44.430
Ashly Lovett: Self doubt.

884
01:19:46.290 --> 01:19:56.490
John English: Their dream starts to get chiseled away. And so you got to take control and make a conscious effort to get there. Push through and get there as quickly as you can.

885
01:19:57.360 --> 01:20:09.570
John English: And I think that, you know, obviously learning the right things, but being able to to create a path as quick as you can to get started because you kind of just said it Chris working

886
01:20:10.620 --> 01:20:11.490
John English: making art.

887
01:20:12.630 --> 01:20:13.260
John English: And

888
01:20:15.180 --> 01:20:20.640
John English: Is the thing that will accelerate you of getting better. You just got to be in a position to make art, all the time.

889
01:20:22.710 --> 01:20:30.390
C. F. Payne: You know i one of my lines. Every now and then I have to have a conversation we've been talking about the tattoos and the hair and stuff, but I always

890
01:20:30.930 --> 01:20:41.100
C. F. Payne: Have some time. So the student I got I'll tell them, and you got the looking like an artist part down, but you're not make an art like an artist down. You're not making enough. Are you gotta make it

891
01:20:41.850 --> 01:20:49.380
C. F. Payne: You know yeah you know you got to get past the idea of, you know, trying to shock the squares by how you look.

892
01:20:50.970 --> 01:20:54.540
C. F. Payne: You know, and start making art. Gotta make some art.

893
01:20:56.340 --> 01:21:00.990
John English: I'm a believer that and and then the ability or

894
01:21:02.280 --> 01:21:03.840
John English: To organize yourself.

895
01:21:04.950 --> 01:21:18.750
John English: To live the life of an artist, because you know the whole can i mean you're gonna learn so much more. When you get rolling in the industry when you're making art every day. That's all you do. Yep. You got to put you got it. You gotta fight to get there.

896
01:21:20.700 --> 01:21:25.170
John English: So anyway, I don't want to get. I don't want to lecture about that, but it is so important to

897
01:21:26.250 --> 01:21:30.960
John English: You know, try to get through. Try to try to get started as quickly as you can.

898
01:21:31.680 --> 01:21:40.080
C. F. Payne: Oh, you know, a lot of times people want to know, how do you get your style. Well, it's just you find your style by making a whole lot of art and somehow it starts to emerge on its own.

899
01:21:40.620 --> 01:21:51.420
C. F. Payne: It's not something that really be it's not preconceived it's just, it's the way you draw it with other stuff involved with it. You know how you talk is the key.

900
01:21:52.110 --> 01:21:58.860
John English: Maybe, maybe the suggestion to read to experience life.

901
01:22:00.000 --> 01:22:02.250
John English: Because voice comes from

902
01:22:04.230 --> 01:22:13.050
John English: Voice comes from personal experience and what you know and being able to translate that as an artist is extremely important, especially as an illustrator.

903
01:22:17.220 --> 01:22:20.010
John English: Identity. How do you make somebody remember you.

904
01:22:26.370 --> 01:22:37.650
Montalvo Machado: Think I heard someone say once through is very interesting about style and things said, How do I get my style that the old question, they said you don't get a style the style gets you

905
01:22:38.160 --> 01:22:51.090
Montalvo Machado: But you have to give it space and time. You really have to jump into it and do stuff and do stuff and then style comes to you. I don't know if it's a you know a reality are true for everyone, but it makes sense to me.

906
01:22:51.990 --> 01:22:56.280
Bill Koeb: You start to recognize the things that you do and the things that work.

907
01:22:58.080 --> 01:23:01.410
Bill Koeb: And, you know, and then you see yourself doing them.

908
01:23:02.490 --> 01:23:08.040
Bill Koeb: And then you know that you guys but I get to the point where I want to then try something else.

909
01:23:09.150 --> 01:23:10.740
Bill Koeb: It's not so

910
01:23:12.930 --> 01:23:14.250
Bill Koeb: It's not so familiar.

911
01:23:16.770 --> 01:23:21.480
Bill Koeb: I think I think when you're starting out, you're just trying to like make something good and then repeat it.

912
01:23:24.060 --> 01:23:24.450
Montalvo Machado: Yeah.

913
01:23:25.080 --> 01:23:25.860
John English: You know I

914
01:23:28.830 --> 01:23:38.640
John English: Talking about developing voice. That's something I think we are all considered and we all think about and how to help other people do that and I

915
01:23:39.900 --> 01:23:43.110
John English: I I generally go to a experience I had with

916
01:23:44.130 --> 01:23:53.520
John English: Seeing Chris and Gary Kelly and Anita coons and all those great illustrators that originally came to the Academy and talk with us and

917
01:23:55.320 --> 01:24:00.630
John English: In in recognizing the great voices that they had the unique style that they

918
01:24:02.250 --> 01:24:04.650
John English: It became really evident to me.

919
01:24:05.010 --> 01:24:10.500
John English: Of the weight. An emphasis and my, my dad was a stickler for this of

920
01:24:11.940 --> 01:24:23.280
John English: Doing your picture design doing your development from memory of me. He always say this that I get such a kick, because it was so eloquent how he said it, and that is

921
01:24:24.240 --> 01:24:39.570
John English: You know the active learning how to draw from memory and design from memory is using you're using yourself as your own library. And he said, If you continually if you practice that you'll eventually start showing up in your own pictures.

922
01:24:40.920 --> 01:24:41.250
Bill Koeb: But

923
01:24:41.520 --> 01:24:42.510
John English: Pretty damn smart.

924
01:24:45.390 --> 01:24:51.180
John English: And not being because you know when you're influenced by other people and your influence even influenced by reference and other paintings

925
01:24:52.230 --> 01:25:08.670
John English: We steal it. We get one step further away from our own picture that was his that was his message to helping develop voice was really practice that art of drawing from memory and and and and relying on what you know.

926
01:25:11.340 --> 01:25:13.860
C. F. Payne: What you know also trusting what you know.

927
01:25:13.920 --> 01:25:14.880
John English: Yeah, absolutely.

928
01:25:15.600 --> 01:25:16.140
Yeah.

929
01:25:19.230 --> 01:25:24.660
Bill Koeb: Setting, whether it's right or whether it's wrong, what's right for somebody else.

930
01:25:27.480 --> 01:25:28.890
John English: I also

931
01:25:30.150 --> 01:25:34.860
John English: Tell people jokingly, not that I would ever do this, but if I ever had to pay play

932
01:25:35.970 --> 01:25:43.290
John English: Trivial Pursuit or general question answering. I would want to be in a room with a bunch of smart illustrators.

933
01:25:44.010 --> 01:25:44.520
John English: Yeah.

934
01:25:45.150 --> 01:25:52.560
Ashly Lovett: They played a game like that. And I love to kind of brought it is a lot of fun to draw with other illustrators, those kind of games.

935
01:25:53.040 --> 01:25:55.050
John English: Yeah, it's, it's amazing how

936
01:25:56.370 --> 01:26:08.370
John English: You know, you think just about the process of illustrators that have worked for years on different assignments and learning so much about so many things are so little about some things maybe

937
01:26:08.820 --> 01:26:09.060
But

938
01:26:10.080 --> 01:26:15.540
John English: But you know, I think generally as a as a industry that

939
01:26:16.770 --> 01:26:29.970
John English: People are continuous learners, they they read they continue to grow the develop themselves and I would not want to get in a Trivial Pursuit game with Chris Payne or Brad island or Marc summers are

940
01:26:30.330 --> 01:26:31.170
C. F. Payne: George Pratt.

941
01:26:31.740 --> 01:26:32.550
John English: George Pratt.

942
01:26:33.510 --> 01:26:35.010
John English: Yeah, good luck.

943
01:26:38.520 --> 01:26:53.730
John English: To George's. You know, we all took you know we all love them because we know from his graphic novels and I always it always a mind game for me to just remind myself. Oh, he also wrote these

944
01:26:55.770 --> 01:26:57.720
John English: It's like, oops. Yeah.

945
01:26:59.100 --> 01:26:59.940
John English: on another planet.

946
01:27:00.570 --> 01:27:00.960
Yeah.

947
01:27:02.340 --> 01:27:06.900
Bill Koeb: I think that's what separates story from a lot of other people that don't write their own stuff to

948
01:27:11.220 --> 01:27:12.030
Bill Koeb: The whole package.

949
01:27:14.400 --> 01:27:25.770
John English: Charges the complete package is one smart dude we rented a house together for three or four years I was at a distance, and he had just moved to

950
01:27:27.780 --> 01:27:38.280
John English: Or soda when he started teaching it wrangling and I had been running this house from somebody to to stay for this just the summer I was going down enough, it made sense to keep it and I

951
01:27:39.570 --> 01:27:46.710
John English: I walked into his room while he wasn't there one day to look for something and I was shocked. I saw

952
01:27:47.940 --> 01:28:01.530
John English: Had to be close to 200 books in the process that he was reading and he had them all open like they were you know open. They open open and laid down upside down where they were open. You know, to a certain page.

953
01:28:02.520 --> 01:28:08.310
John English: And I asked him when he WHEN I SAW EARLIER THAT IS WHAT THE HELL ARE YOU DOING. And he goes, I'm just reading those

954
01:28:09.450 --> 01:28:09.960
John English: And I'm like,

955
01:28:11.310 --> 01:28:18.210
John English: And then he said, well, it's not a big deal. A lot of them like I've read three or four times already. And I started going I started thinking about myself and

956
01:28:19.530 --> 01:28:22.050
John English: I'm telling bad stories about myself. But like

957
01:28:22.170 --> 01:28:24.810
Ashly Lovett: Oh yeah, me too. I've got tons of books upside down in my notes.

958
01:28:27.510 --> 01:28:29.670
John English: No, actually, where I went to is

959
01:28:30.180 --> 01:28:32.190
John English: How many books if I read more than one

960
01:28:33.840 --> 01:28:34.920
John English: count on one hand

961
01:28:35.670 --> 01:28:38.760
John English: You know, besides hundreds of these books that he was rereading

962
01:28:39.810 --> 01:28:41.160
John English: It's like, oh my god.

963
01:28:42.480 --> 01:28:45.210
C. F. Payne: And Dr. Seuss account.

964
01:28:45.420 --> 01:28:45.690
No.

965
01:28:50.280 --> 01:28:52.800
C. F. Payne: It counts for me, but it doesn't count for George

966
01:28:54.840 --> 01:28:56.220
John English: I think I read

967
01:28:57.540 --> 01:29:02.130
John English: I think I read Lonesome Dove three times just because I enjoyed it so much and

968
01:29:03.300 --> 01:29:04.680
John English: I've read, I've read, read.

969
01:29:08.520 --> 01:29:12.810
John English: To Kill a Mockingbird, a couple of times. Things I read in high school that I wanted to read again.

970
01:29:13.890 --> 01:29:20.220
John English: Catch 22. I mean, there's the, you know, really simple things, but I'm probably not more than four or five different books.

971
01:29:23.130 --> 01:29:33.180
C. F. Payne: I haven't read books over, but I have a tendency to do because I like biographies, I'll read a different biography of the same person. I probably read about six books on Churchill.

972
01:29:34.560 --> 01:29:36.720
C. F. Payne: You know, and I've got one. I'm working on, and I got

973
01:29:38.070 --> 01:29:40.440
C. F. Payne: Another one, ready to go to follow and

974
01:29:42.600 --> 01:29:45.270
C. F. Payne: Then I got a book on creativity that I'm

975
01:29:45.270 --> 01:29:45.750
Reading

976
01:29:48.150 --> 01:29:59.280
Ashly Lovett: Oh, I do audio books, cuz I can't just do a small little sit down session for reading, I get to plugged in some all about listening to audiobooks while I work

977
01:30:00.060 --> 01:30:04.890
C. F. Payne: Time. I've tried it, but I find myself just

978
01:30:06.090 --> 01:30:09.780
C. F. Payne: I don't know whether I don't think the right word is distracted, but it just

979
01:30:11.010 --> 01:30:11.580
C. F. Payne: I end up

980
01:30:13.170 --> 01:30:15.000
C. F. Payne: Focusing on the word so much

981
01:30:16.170 --> 01:30:19.290
C. F. Payne: And it's like watching a movie that you've not seen before.

982
01:30:20.070 --> 01:30:21.180
C. F. Payne: I can do it.

983
01:30:21.270 --> 01:30:29.310
C. F. Payne: You know, and work. I mean, I can watch you know something like weathering heights that I've seen that doesn't, you know, a dozen times, no problem, or

984
01:30:31.650 --> 01:30:37.350
C. F. Payne: Catch a thief or something like that. But a movie. I've never seen before. I can't do it or

985
01:30:38.370 --> 01:30:41.100
C. F. Payne: The other one is I can't watch cartoons. When I'm working

986
01:30:42.960 --> 01:30:45.150
C. F. Payne: start laughing and want to watch them.

987
01:30:46.800 --> 01:30:57.870
Ashly Lovett: Yes. What I like about the audio books, is it helps me not overthink because I know some people can't they just, you know, they have trouble paying attention, listening to audiobooks, and

988
01:31:00.180 --> 01:31:00.660
Montalvo Machado: I learned that

989
01:31:00.690 --> 01:31:04.800
Ashly Lovett: I like it. Yes, I can't do podcasts, for some reason, that's different.

990
01:31:08.820 --> 01:31:15.330
C. F. Payne: I can do some podcasts, but it just, you know, it's, I do a few of them. And then I got it. And I got to take a break.

991
01:31:15.750 --> 01:31:16.320
Mm hmm.

992
01:31:17.610 --> 01:31:17.790
C. F. Payne: I

993
01:31:18.900 --> 01:31:20.220
Bill Koeb: Guess I don't know why.

994
01:31:22.590 --> 01:31:26.700
Bill Koeb: I'm working on wanted to listen to what they're saying and then

995
01:31:27.870 --> 01:31:29.850
Bill Koeb: focus too much on that. And then if I'm

996
01:31:31.980 --> 01:31:35.070
Bill Koeb: Hey too much into that I'm not intentional. What I'm doing so.

997
01:31:36.570 --> 01:31:38.550
Bill Koeb: I said in this a lot with podcasts.

998
01:31:39.090 --> 01:31:39.390
Yeah.

999
01:31:40.950 --> 01:31:44.520
Bill Koeb: Any TV show, can you know

1000
01:31:45.930 --> 01:31:47.280
Bill Koeb: I can do and

1001
01:31:50.850 --> 01:31:52.050
John English: The other thing is about

1002
01:31:53.520 --> 01:31:58.440
John English: my reading list, people would probably look at and just laugh because it's the garbage.

1003
01:31:59.970 --> 01:32:01.680
John English: Just it's just entertainment.

1004
01:32:07.980 --> 01:32:17.400
Ashly Lovett: psychological thrillers I find like a lot of Stephen King books and in fantasy with like Brandon Sanderson was one of my favorite

1005
01:32:22.020 --> 01:32:29.190
Bill Koeb: guys ever get to the point where you're you're trying to finish a book and you just can't keep trying and keep trying and just

1006
01:32:29.670 --> 01:32:32.760
Ashly Lovett: Because it's not good, or because you don't want it. The series to end.

1007
01:32:32.880 --> 01:32:38.280
Bill Koeb: No, it's good, but it's just not an easy read and it's not a

1008
01:32:40.200 --> 01:32:43.290
John English: Cormac McCarthy book right now. I can't finish, I don't mind you

1009
01:32:48.780 --> 01:32:50.790
Bill Koeb: I've got this book snow, the

1010
01:32:53.340 --> 01:32:55.980
Bill Koeb: Winner. I've been trying to finish it for like a year now and

1011
01:32:58.290 --> 01:33:00.540
Bill Koeb: Other books and started reading them, but then

1012
01:33:01.710 --> 01:33:08.280
Bill Koeb: It's on my coffee tip on what we know, I really should finish that book I've only got about three or four chapters to go, but it's just

1013
01:33:09.780 --> 01:33:12.930
Bill Koeb: There's something in the writing that makes it hard for me to

1014
01:33:14.220 --> 01:33:15.990
Bill Koeb: Something in me really to make her

1015
01:33:16.230 --> 01:33:18.060
Montalvo Machado: Being there. I know if you

1016
01:33:19.170 --> 01:33:30.060
C. F. Payne: Well, I can remember it took me a while to I had such a hard time getting through the NC Wyeth biography that book at me. It was so I could not believe anybody could take somebody that

1017
01:33:31.290 --> 01:33:38.460
C. F. Payne: You know that big that, you know, full of life and bright such a boring book.

1018
01:33:40.830 --> 01:33:41.190
Montalvo Machado: Really

1019
01:33:41.250 --> 01:33:41.790
John English: We did it.

1020
01:33:42.990 --> 01:33:49.740
C. F. Payne: It was just awful but you know i wanted i you know so much 100 and it's funny. I've talked with other people who

1021
01:33:50.790 --> 01:33:53.820
C. F. Payne: Fortunately, I'm not the only one who thought it was a terribly boring book.

1022
01:33:55.740 --> 01:33:57.990
C. F. Payne: Maybe you guys have read and part of is great, but I just

1023
01:33:58.260 --> 01:33:59.760
John English: I have not read it. Chris, I

1024
01:34:00.840 --> 01:34:01.200
C. F. Payne: Couldn't

1025
01:34:05.070 --> 01:34:06.870
Bill Koeb: Sign back and I've gotten through

1026
01:34:08.460 --> 01:34:13.380
Bill Koeb: All pretty quickly. But east of Eden. Took me a long time.

1027
01:34:13.980 --> 01:34:18.360
C. F. Payne: Yeah, my wife did not like east of Eden, she didn't like the book and she didn't like the movie.

1028
01:34:19.350 --> 01:34:26.310
Bill Koeb: Oh, I really liked that book. I just took forever. I mean Grapes of Wrath was like a breeze compared to that.

1029
01:34:28.050 --> 01:34:28.470
C. F. Payne: Right.

1030
01:34:30.630 --> 01:34:31.200
But

1031
01:34:32.400 --> 01:34:34.890
Bill Koeb: Interesting to shoot. And what did she say why she didn't like it.

1032
01:34:35.610 --> 01:34:46.680
C. F. Payne: Was done like it. I mean, now she's, she's I think just recently she did travels with red travels with Charlie again. I like my wife can read books over and over again, many times.

1033
01:34:47.700 --> 01:34:47.970
C. F. Payne: That

1034
01:34:48.630 --> 01:34:49.800
Bill Koeb: Such a great book to

1035
01:34:50.220 --> 01:34:51.240
John English: That's a great book.

1036
01:34:53.940 --> 01:35:01.530
Bill Koeb: That's a good read for now because it's about the. There's a lot of references in the 1960s.

1037
01:35:05.460 --> 01:35:06.720
Bill Koeb: He's just trying to get a

1038
01:35:08.370 --> 01:35:10.620
Bill Koeb: IDEA WHERE PEOPLE Brad was thinking

1039
01:35:12.510 --> 01:35:14.400
Bill Koeb: About the candidates and stuff but

1040
01:35:17.220 --> 01:35:20.160
John English: I enjoyed that as much as any of his books.

1041
01:35:20.760 --> 01:35:21.180
Bill Koeb: Yeah.

1042
01:35:21.360 --> 01:35:22.770
John English: Like Cannery Row lot

1043
01:35:23.850 --> 01:35:24.180
John English: Yeah.

1044
01:35:26.730 --> 01:35:27.630
Bill Koeb: Zero to two

1045
01:35:28.350 --> 01:35:29.490
John English: flats was great.

1046
01:35:31.680 --> 01:35:33.150
Bill Koeb: Fun book. Yeah.

1047
01:35:35.880 --> 01:35:37.020
Bill Koeb: The pearl is such a nice

1048
01:35:40.470 --> 01:35:41.700
Bill Koeb: Nice, but it's a good story.

1049
01:35:44.520 --> 01:35:48.510
John English: We're good, we're good, we're talking about an author that I've read a few of his books anyway.

1050
01:35:49.050 --> 01:35:51.690
Bill Koeb: He's I've read more in than anybody else.

1051
01:35:55.530 --> 01:36:00.450
Bill Koeb: I'm trying to read the trap. What's the one where he travels the Sea of Cortez

1052
01:36:04.860 --> 01:36:06.180
Bill Koeb: The content.

1053
01:36:19.980 --> 01:36:20.220
John English: Off.

1054
01:36:20.550 --> 01:36:23.760
John English: Oh, I did whatever, just a minute ago, just a few seconds, right.

1055
01:36:24.660 --> 01:36:26.160
John English: You guys looking great.

1056
01:36:30.810 --> 01:36:32.670
C. F. Payne: Try to get it so you can see it a little better.

1057
01:36:34.860 --> 01:36:35.280
Bill Koeb: Oh, wow.

1058
01:36:36.150 --> 01:36:36.660
Ashly Lovett: I love it.

1059
01:36:37.620 --> 01:36:38.160
John English: Beautiful earful

1060
01:36:38.430 --> 01:36:38.970
Montalvo Machado: He's there.

1061
01:36:40.170 --> 01:36:40.590
Dude,

1062
01:36:41.880 --> 01:36:42.360
John English: Okay.

1063
01:36:42.990 --> 01:36:43.290
C. F. Payne: All right.

1064
01:36:43.380 --> 01:36:46.050
John English: Let me bounce around the room or see what everybody did

1065
01:36:47.910 --> 01:36:54.330
John English: Well, go to on top of on top of last because when Tom was going to do the extra

1066
01:36:55.110 --> 01:36:55.530
Okay.

1067
01:36:57.210 --> 01:36:58.320
And so

1068
01:37:02.760 --> 01:37:04.950
John English: Looking for. And here we go. I gotta get my arrow here.

1069
01:37:07.590 --> 01:37:11.610
Ashly Lovett: And looking at it on the screen. It's so blue

1070
01:37:13.980 --> 01:37:21.300
Ashly Lovett: Quite this I look for. I always prefer taking photos of this and and showing like the actual the actual color.

1071
01:37:21.840 --> 01:37:22.470
John English: Very cool.

1072
01:37:23.070 --> 01:37:24.510
John English: Well, you can play the same

1073
01:37:24.540 --> 01:37:25.890
John English: You can do that when you post it.

1074
01:37:26.280 --> 01:37:27.060
Ashly Lovett: Yeah yeah

1075
01:37:28.170 --> 01:37:30.600
John English: Very nice. Let me jump to build code.

1076
01:37:36.030 --> 01:37:38.430
John English: Spotlight video, Mr Kolb

1077
01:37:40.200 --> 01:37:40.710
John English: All right.

1078
01:37:40.770 --> 01:37:43.110
C. F. Payne: Very cool and fun with that here didn't yet.

1079
01:37:43.590 --> 01:37:43.920
Yeah.

1080
01:37:47.130 --> 01:37:49.710
John English: And then I'm going to jump over to Audrey.

1081
01:37:51.030 --> 01:37:53.400
Audrey Benjaminsen: Still making my way through ahead and take a break.

1082
01:37:55.110 --> 01:37:58.260
John English: So I totally understand. I didn't draw

1083
01:37:59.700 --> 01:38:09.240
Audrey Benjaminsen: I'm excited about this. I have a hard time with the angle. I always like to challenge the upturn faces. But I think when I painted it was better than 100

1084
01:38:10.170 --> 01:38:11.730
Bill Koeb: Yesterday was that one too.

1085
01:38:12.180 --> 01:38:16.170
John English: Early nice alright so Montalvo

1086
01:38:17.370 --> 01:38:17.760
Montalvo Machado: Right.

1087
01:38:19.620 --> 01:38:21.600
John English: To the southern hemisphere, we go

1088
01:38:23.910 --> 01:38:24.600
John English: Very nice.

1089
01:38:24.900 --> 01:38:25.290
Nice.

1090
01:38:26.370 --> 01:38:30.150
John English: Very, very cool. I can keep spotlighted because my last run

1091
01:38:31.950 --> 01:38:32.670
Montalvo Machado: Oh, let's go.

1092
01:38:34.410 --> 01:38:36.810
Montalvo Machado: We're going to keep working over her for a while.

1093
01:38:38.190 --> 01:38:39.240
Montalvo Machado: And the other girl to

1094
01:38:41.700 --> 01:38:43.920
Montalvo Machado: And I'm gonna do Lady in Red right

1095
01:38:45.090 --> 01:38:45.660
C. F. Payne: All right.

1096
01:38:55.470 --> 01:38:56.370
John English: What are you working on my

1097
01:38:57.510 --> 01:38:57.960
John English: Paper.

1098
01:38:59.400 --> 01:39:00.000
Montalvo Machado: This is

1099
01:39:01.140 --> 01:39:03.780
Montalvo Machado: Paper called Mark cash.

1100
01:39:04.830 --> 01:39:19.320
Montalvo Machado: But it's it's it's got a little story about it because I love this paper so much. It's got this textures and you know the color and everything and I tried to buy it once a few years ago and they just tell me, well, this has been discontinued.

1101
01:39:20.280 --> 01:39:20.970
Audrey Benjaminsen: Oh,

1102
01:39:21.750 --> 01:39:23.610
Montalvo Machado: My favorite papers is out.

1103
01:39:25.170 --> 01:39:34.830
Montalvo Machado: You know, chasing this paper everywhere. And I ended up finding in some real, you know, distributors some hard hard, guys.

1104
01:39:35.490 --> 01:39:47.970
Montalvo Machado: Distributed in large papers in light sheets and I bought everything that I could just depleted. The rest of it and I got, I got some of this paper for the rest of my life. I'm saying

1105
01:39:49.350 --> 01:40:06.690
Montalvo Machado: Yeah, it worked. I could get a you know some of some of these small sheets and some of these are twice the size and I got a whole stack of 100 pages of the real big ones is just like full pages. You know, I don't know how much would that would that be in inches but they're big.

1106
01:40:08.580 --> 01:40:11.700
John English: Yeah, and I love artists.

1107
01:40:12.450 --> 01:40:24.030
Montalvo Machado: work so well with everything that I do is just like this kind of drawing, drawing tools that I use it just works well worthwhile with watercolors and acrylics and pastels and everything.

1108
01:40:25.260 --> 01:40:29.250
Montalvo Machado: Just incredible well let's let's get done.

1109
01:40:30.270 --> 01:40:31.290
Montalvo Machado: Something working together.

1110
01:40:31.860 --> 01:40:35.520
John English: I love listening to stories about artists chasing their materials.

1111
01:40:36.690 --> 01:40:37.740
John English: Bill, you might be able to

1112
01:40:38.850 --> 01:40:41.640
John English: Remember this or Chris

1113
01:40:42.840 --> 01:40:47.190
John English: George Pratt had a particular nip that he liked for his pen and ink.

1114
01:40:47.790 --> 01:40:48.990
Ashly Lovett: I remember this.

1115
01:40:50.640 --> 01:40:51.150
John English: Is like

1116
01:40:52.830 --> 01:41:04.020
John English: The rest of the surviving ones on the planet. He's got the rest of his life in 10 times over, he searched. It was very I forgot what it was. Do you remember Ashley.

1117
01:41:05.700 --> 01:41:13.290
Ashly Lovett: I don't, I just remember he had something this is such a long time ago that I do remember he had like this complete stash.

1118
01:41:13.680 --> 01:41:15.090
Ashly Lovett: Oh yeah, always talked about it.

1119
01:41:15.840 --> 01:41:17.640
John English: He was very proud very proud of that stuff.

1120
01:41:17.700 --> 01:41:18.540
Ashly Lovett: Yeah, he is.

1121
01:41:19.200 --> 01:41:22.860
Bill Koeb: He was like that with this to this.

1122
01:41:27.900 --> 01:41:28.590
Bill Koeb: Here.

1123
01:41:30.030 --> 01:41:33.660
Bill Koeb: Frenchie. I can't even see the label anymore, but it's really beautiful.

1124
01:41:36.210 --> 01:41:37.860
Bill Koeb: red car I own a little bit, let

1125
01:41:39.090 --> 01:41:47.670
Montalvo Machado: You know, I'm going to chase with him with with George about that utopia paper. We're, we're chasing everywhere and trying to buy it.

1126
01:41:49.260 --> 01:41:59.400
Montalvo Machado: And it's there. They have discontinued the paper just just the same as happened to mine here, but we're, we're looking for it. Maybe we can get some

1127
01:42:00.630 --> 01:42:03.180
John English: My time I'll tell you, George doesn't play fair

1128
01:42:04.020 --> 01:42:06.690
John English: When he finds it he's not going to tell you he found it.

1129
01:42:10.980 --> 01:42:12.180
Bill Koeb: You can buy it all.

1130
01:42:12.210 --> 01:42:14.280
John English: He's gonna buy it on Sam had no luck.

1131
01:42:14.700 --> 01:42:17.100
Bill Koeb: I don't know, man. I couldn't find it.

1132
01:42:17.820 --> 01:42:22.440
Montalvo Machado: Well 700 pages might be a little bit too much, even for him for a sentence.

1133
01:42:24.510 --> 01:42:28.320
John English: That doesn't matter. Your job. We went to

1134
01:42:29.550 --> 01:42:38.820
John English: We went to South by Southwest, we were doing a presentation at a booth there right when they first started having an educational aspect to it.

1135
01:42:39.780 --> 01:42:51.750
John English: And we went to the we didn't bring any substrates any campuses to work on. So I said, George, we're going to be painting at the booth for like two days. Let's go buy a bunch of canvases. He bought like 35 canvas.

1136
01:42:54.180 --> 01:42:57.720
John English: And he really thought he goes, Well, we could get on a roll. He was I could get on a roll like

1137
01:43:00.030 --> 01:43:03.480
John English: I think I still I carded and back to Kansas City. I think I still

1138
01:43:03.480 --> 01:43:04.050
Montalvo Machado: wanted more.

1139
01:43:05.700 --> 01:43:07.260
Bill Koeb: Of course you did. Yeah.

1140
01:43:09.570 --> 01:43:10.260
Montalvo Machado: Never Enough.

1141
01:43:11.370 --> 01:43:11.610
Montalvo Machado: Right.

1142
01:43:12.960 --> 01:43:21.630
Montalvo Machado: So story to tell. You know, pretty time you know in in very soon. Just let's see what what's going to happen. I want to get those papers.

1143
01:43:21.870 --> 01:43:24.240
John English: That's that should be our policy and here's that

1144
01:43:25.830 --> 01:43:28.440
John English: Open story night on anybody that doesn't show up.

1145
01:43:30.720 --> 01:43:33.810
John English: Talk about them all night long. But it's always in a positive light.

1146
01:43:34.110 --> 01:43:39.420
Bill Koeb: Yeah. The funny thing about this bottle of me is that he had like this rare stash of it.

1147
01:43:40.590 --> 01:43:45.090
Bill Koeb: That I was completely. I knew we were friends because he gave me a bottle.

1148
01:43:46.590 --> 01:43:52.260
Ashly Lovett: Like that sepia reddish. Yeah, okay. See, I'm surprised that I remember that.

1149
01:43:52.470 --> 01:43:55.590
Bill Koeb: He's got this like one. I can't even tell you the name of it so

1150
01:43:55.710 --> 01:43:57.750
John English: I'm I'm more surprised he gave you some

1151
01:43:57.930 --> 01:43:58.830
Bill Koeb: I know really

1152
01:44:03.660 --> 01:44:05.190
Bill Koeb: Yeah, I was surprised, too. So

1153
01:44:06.240 --> 01:44:07.020
John English: He must like you

1154
01:44:09.120 --> 01:44:10.230
Bill Koeb: Must like me so

1155
01:44:11.850 --> 01:44:17.070
Bill Koeb: But I'm like I am, there's a certain kind of sketch book. I really like that around. He makes

1156
01:44:18.660 --> 01:44:20.160
Bill Koeb: You can't find here.

1157
01:44:21.900 --> 01:44:27.180
Bill Koeb: And it's hard to find. You can find it in England, but you have to find an art supply store that carries

1158
01:44:30.150 --> 01:44:31.830
Bill Koeb: And you can't buy it from them.

1159
01:44:33.810 --> 01:44:36.420
Bill Koeb: Because they don't sell it to individuals.

1160
01:44:38.220 --> 01:44:44.310
Bill Koeb: But it's got this beautiful kind of creamy color cartridge paper and it takes every material.

1161
01:44:50.610 --> 01:44:54.720
Bill Koeb: But it's one of those things. It's impossible to find. So when I found some I bought like a year's worth

1162
01:45:04.320 --> 01:45:04.980
John English: What was it

1163
01:45:06.690 --> 01:45:11.100
John English: Chris, there was a couple of charisma color pencils. They quit quit making

1164
01:45:12.360 --> 01:45:15.450
John English: One of them that you were looking for. We're always

1165
01:45:15.840 --> 01:45:22.110
C. F. Payne: Making flesh and oh yeah for us, but for a while. There they stopped making page, but they didn't bring it back.

1166
01:45:23.310 --> 01:45:25.140
C. F. Payne: Fortunately they brought me back.

1167
01:45:26.100 --> 01:45:28.650
Montalvo Machado: It's just good color use it all the time.

1168
01:45:29.100 --> 01:45:30.030
Ashly Lovett: Crazy. It is

1169
01:45:30.150 --> 01:45:33.840
C. F. Payne: Crazy how certain colors. They'll just they'll just disappear.

1170
01:45:35.880 --> 01:45:47.430
C. F. Payne: And of course, you know, other things will change to, you know, even though I'm sure you guys have had up with, you know, board something they've done differently to the board and it doesn't react the way it used to.

1171
01:45:47.850 --> 01:45:52.320
Montalvo Machado: I remember you saying that during the demos. The Academy

1172
01:45:53.400 --> 01:45:55.110
Montalvo Machado: The case about the board.

1173
01:45:55.410 --> 01:45:59.880
C. F. Payne: So you have to go find something completely new. Yeah, it's really frustrating.

1174
01:46:00.840 --> 01:46:03.030
Ashly Lovett: You read that about illustration board.

1175
01:46:05.910 --> 01:46:16.830
Ashly Lovett: crescents illustration board. I've been lucky my my paper has stayed the same, but I dread when the day comes that they're going to stop making it I buy in giant roles already

1176
01:46:19.980 --> 01:46:20.940
John English: Gonna happen that

1177
01:46:25.110 --> 01:46:32.580
Montalvo Machado: Was started already when when I when I heard that for a lot store in New York City's just gone and it just said what

1178
01:46:33.210 --> 01:46:34.170
Bill Koeb: Oh, yeah.

1179
01:46:34.740 --> 01:46:37.590
Montalvo Machado: That hurts. It's just unbelievable.

1180
01:46:45.330 --> 01:46:48.300
John English: Sometimes we have to make other ways.

1181
01:46:49.320 --> 01:46:49.620
Montalvo Machado: Yeah.

1182
01:46:50.190 --> 01:46:51.660
John English: It's not about the materials.

1183
01:46:52.830 --> 01:46:53.940
Ashly Lovett: All about the materials.

1184
01:46:58.170 --> 01:46:59.880
John English: I was trying to take the high road Ashley.

1185
01:46:59.970 --> 01:47:00.390
Yeah.

1186
01:47:08.370 --> 01:47:10.620
Ashly Lovett: I like the way that adaptability. That's it.

1187
01:47:12.000 --> 01:47:15.060
John English: It's like telling, telling somebody right now that

1188
01:47:17.220 --> 01:47:20.910
John English: Contemporary tennis rackets don't make a difference.

1189
01:47:22.110 --> 01:47:22.470
Montalvo Machado: Yeah.

1190
01:47:22.980 --> 01:47:31.050
John English: I tried. I tried to hitting balls with a wooden racket. A few years back, and it's like it's like I never played the game before possible

1191
01:47:33.090 --> 01:47:34.590
C. F. Payne: Same thing with golf clubs.

1192
01:47:34.890 --> 01:47:35.670
Absolutely.

1193
01:47:38.370 --> 01:47:39.120
John English: That makes like

1194
01:47:40.560 --> 01:47:47.790
John English: Like the the baseball players, you know the distance that they hit like mail. Some of mantels

1195
01:47:49.020 --> 01:47:53.190
John English: long shots or Babe Ruth long shots. It makes it really impressive knowing

1196
01:47:54.240 --> 01:47:54.510
That

1197
01:47:56.340 --> 01:47:58.650
John English: They didn't have the same equipment.

1198
01:47:59.520 --> 01:48:00.540
Montalvo Machado: Yeah, right.

1199
01:48:01.650 --> 01:48:02.040
C. F. Payne: Yeah.

1200
01:48:09.450 --> 01:48:11.790
John English: That's probably what Rembrandt would be saying to us.

1201
01:48:15.300 --> 01:48:16.950
John English: You didn't have to make your own paint.

1202
01:48:21.510 --> 01:48:22.290
Montalvo Machado: Or for me.

1203
01:48:25.920 --> 01:48:33.720
John English: I love, I love, Chris. The one color of all colors that they quit making the fact the fact that it's called flesh.

1204
01:48:35.820 --> 01:48:38.820
John English: It's like, well, this is how you get that flesh tone.

1205
01:48:41.550 --> 01:48:47.760
C. F. Payne: Yeah, so then they love what they ended up doing was they came up with this other color called peach and it's just saying

1206
01:48:48.630 --> 01:48:49.590
Ashly Lovett: It like beaches.

1207
01:48:50.100 --> 01:48:54.120
C. F. Payne: It's just, it's too pink, you know, the other had a little bit more orange to it.

1208
01:48:55.320 --> 01:48:59.790
C. F. Payne: But you know like john said you adapt, you find other ways.

1209
01:49:02.130 --> 01:49:06.360
C. F. Payne: You just you when it happened you know you're caught off guard and

1210
01:49:08.130 --> 01:49:10.050
C. F. Payne: I don't like being caught off guard.

1211
01:49:11.580 --> 01:49:13.110
Ashly Lovett: Become resentful, and then

1212
01:49:26.160 --> 01:49:30.750
John English: Is anybody working on any interesting stories or assignments.

1213
01:49:33.270 --> 01:49:39.360
Montalvo Machado: I'm in between jobs. So I'm just waiting for them to call me in this in this

1214
01:49:40.920 --> 01:49:50.430
Montalvo Machado: Pandemic time and it's just working all the way here at home. So I keep waiting for them to, you know, assign me a job and sometimes I just

1215
01:49:51.120 --> 01:50:02.700
Montalvo Machado: Crazy and just working day and night and some some other times, just keep you know like to sometimes more than two weeks, you know, on my own. I'm happy. They didn't fire me

1216
01:50:05.310 --> 01:50:05.790
Montalvo Machado: I couldn't do.

1217
01:50:06.720 --> 01:50:07.470
John English: It tomorrow.

1218
01:50:09.360 --> 01:50:09.870
John English: Fire you

1219
01:50:11.460 --> 01:50:12.330
Montalvo Machado: Yeah, there's just

1220
01:50:14.010 --> 01:50:27.090
Montalvo Machado: I try to make myself useful for them. So I never turn anything down or saying it's impossible, but I want to, you know, stay on the radar and be useful for them.

1221
01:50:28.260 --> 01:50:46.410
Montalvo Machado: But on the other hand is just I'm having some time to do some experience on my own and trying to get some some techniques that I really wanted to get into and dive into and I have some time for it. So there's, you know, some some really interesting things going on.

1222
01:50:49.380 --> 01:50:53.190
John English: The, the painting. I'm working on right now is

1223
01:50:54.750 --> 01:51:09.810
John English: I'm always I giggle. When I think about it, and then I kind of get mad about it. Um, my daughter went to a very extravagant wedding that our friends took care of like their flights and travel and all this stuff, this was

1224
01:51:11.040 --> 01:51:19.470
John English: Before Kovac. And so she wanted to give them a very, you know, substantial wedding present. So she told him I'm gonna have my father do a painting for you.

1225
01:51:22.320 --> 01:51:23.400
John English: I'm doing a painting.

1226
01:51:23.790 --> 01:51:32.640
John English: As a gift for my daughter's wedding present to a friend. I kept telling my daughter said, Isn't this kind of like a gift from me.

1227
01:51:34.950 --> 01:51:37.200
Ashly Lovett: So she's like no I pushed you into it.

1228
01:51:37.590 --> 01:51:42.180
John English: Exactly right. That's how CC. That's how she sees it, I convinced you to do it.

1229
01:51:43.800 --> 01:51:46.260
John English: And she's my daughter, she's capable of doing that.

1230
01:51:48.360 --> 01:51:48.690
That's what

1231
01:51:50.610 --> 01:51:51.600
That's what filtering do

1232
01:51:57.270 --> 01:51:59.190
John English: Audrey just did a beautiful book cover.

1233
01:52:00.750 --> 01:52:02.430
John English: I saw priming gallop.

1234
01:52:04.500 --> 01:52:06.330
John English: You haven't seen it, you should check it out.

1235
01:52:08.460 --> 01:52:09.540
John English: It's better than good.

1236
01:52:11.280 --> 01:52:13.770
Audrey Benjaminsen: She just posted some of your dad stamps today.

1237
01:52:13.920 --> 01:52:22.140
John English: I saw that, I think yesterday late last night or something. I remember seeing it. So a little mark English was shows a bunch of little tiny stamps.

1238
01:52:31.710 --> 01:52:43.440
John English: To tell a very funny story about my dad and his stamp in the stamp world. The most successful probably the most notoriety for any PC ever got out of his whole illustration career.

1239
01:52:44.040 --> 01:52:52.320
John English: And he did a lot of really fabulous things big exciting projects, but his work was on the cover of the part section of the New York Times

1240
01:52:53.760 --> 01:52:59.760
John English: Because of a mistake he made on a stamp. He did the landing of the Pilgrims stamp.

1241
01:53:01.860 --> 01:53:04.320
John English: For 98 for the centennial 1976

1242
01:53:05.400 --> 01:53:12.090
John English: And he put the wrong flag and you put the union jack flag on the one of the ships which was actually the wrong flag.

1243
01:53:12.780 --> 01:53:25.170
John English: So it made the cover of The New York Times art section and they wrote this huge article some 12 year old. What do you call it a stamp collector philanthropist a flat office 12 year old discovered it.

1244
01:53:29.130 --> 01:53:30.750
John English: And they call it, they call them out.

1245
01:53:31.350 --> 01:53:43.410
John English: And so the question was, I mean, there was this big question where they're going to pull the stamp and and so it made all the first day issues the stamps actually were something but they ended up continuing it

1246
01:53:45.570 --> 01:53:46.440
John English: So typical

1247
01:53:47.520 --> 01:53:50.640
John English: He made a mistake. That's what, that's, that's the interesting. Yeah.

1248
01:53:51.600 --> 01:53:52.950
Bill Koeb: And a 12 year old call them out of

1249
01:53:52.980 --> 01:53:54.030
John English: The 12 year old called

1250
01:53:54.840 --> 01:53:55.620
Ashly Lovett: Breaking news.

1251
01:53:57.000 --> 01:54:00.090
Bill Koeb: Not going to draw arson your kid that tells you that you know

1252
01:54:04.620 --> 01:54:08.940
John English: This got called out for 12 year old and I ended up on the cover of The New York Times aren't section.

1253
01:54:11.880 --> 01:54:12.750
Montalvo Machado: That's a good story.

1254
01:54:18.840 --> 01:54:19.890
John English: We got to do our homework.

1255
01:54:25.170 --> 01:54:27.210
Bill Koeb: When he was doing the Shakespeare about student. He

1256
01:54:30.960 --> 01:54:32.430
Bill Koeb: wasn't actually a Shakespeare store.

1257
01:54:32.970 --> 01:54:35.640
John English: Actually, actually. Chris knows the story is he's laughing

1258
01:54:37.080 --> 01:54:41.550
C. F. Payne: Yeah, it was the first one. He turned and he was you know he he got the job and

1259
01:54:42.240 --> 01:54:48.780
C. F. Payne: They're going kept on calling. What am I going to see some art. What am I going to see some art. He said, I promise you'll get it next week.

1260
01:54:49.290 --> 01:55:02.610
C. F. Payne: After weeks of calling and finally said I got your first piece. It's got me doing it you know tomorrow. I guess it opens it up walls markup. So the beautiful painting. I love a lot, but it's not Shakespeare

1261
01:55:04.230 --> 01:55:04.530
C. F. Payne: No.

1262
01:55:07.080 --> 01:55:07.380
C. F. Payne: No.

1263
01:55:10.440 --> 01:55:17.970
John English: He was good friends. It was Jim for Mary. He was good friends for had abandoned the art director advantage and

1264
01:55:19.080 --> 01:55:32.160
John English: He was good friends with my father and he thought my dad was playing a joke on him, Because even this wonderful assignment to do all the Shakespeare plays. And I think there's 31 of them in my dad's case there's 32

1265
01:55:33.570 --> 01:55:43.080
John English: And I'm probably wrong. There might be 33 I don't know exactly for the story what he's like. I can't believe it goes. It's an unbelievable job visually.

1266
01:55:43.170 --> 01:55:43.650
John English: It's like

1267
01:55:43.890 --> 01:55:51.300
John English: The most fun job they paid them fantastically and they ended up buying all the originals, the hang of the corporate office and

1268
01:55:52.500 --> 01:56:03.630
John English: So it was a phenomenal job all the way around. You got the project. Can you tell me, said I can't because I can't even get through one place because I can't stand it so difficult for me to read this.

1269
01:56:04.230 --> 01:56:13.380
John English: And I got to read them all fast and so we made the suggestion to get cliff notes and he's have a he didn't know what a cliff cliff notes were

1270
01:56:13.860 --> 01:56:24.150
John English: And so he told him that he could just go to the library and get all the, you know, the shortened versions that abbreviated version. So he thought that was fantastic. The librarian through in

1271
01:56:25.350 --> 01:56:41.940
John English: Sarah knows and put it in like shuffling through. And he goes, Why don't need to read this. I know this story. I'll just do this. And so Jim Mary thought it was a very funny joke that he played out of it as he's talking to him he realizes it wasn't a joke. It was it actually happened.

1272
01:56:43.980 --> 01:56:49.560
John English: Weight. I think he gave him a year to do all 33 of them. And it took him six months to do the first one.

1273
01:56:52.200 --> 01:56:54.180
John English: True, true form of an illustrator.

1274
01:56:56.640 --> 01:56:58.080
John English: had to wait till the time was right.

1275
01:56:58.890 --> 01:57:02.340
Bill Koeb: That's a big job to, like, how do you even started you know

1276
01:57:02.580 --> 01:57:03.030
Right.

1277
01:57:04.200 --> 01:57:09.240
C. F. Payne: Well, the other story. I like was the one and I, I'm not sure exactly who the client was but

1278
01:57:10.260 --> 01:57:20.880
C. F. Payne: Called your dad for a job and he totally forgot about it and I called on the phone. He's talking with them about the job and Mark is trying to

1279
01:57:21.510 --> 01:57:31.170
C. F. Payne: remember who this guy is falling ABOUT WHAT'S THIS STORY AND HE'S JUST KEEPS ON KIND OF stalling with them, and pretty soon the guy realizes

1280
01:57:31.740 --> 01:57:48.120
C. F. Payne: Mark doesn't know what's going to know who he is, what it's about. He says, I got this job, you have to the city parks that the guy actually started cry that my job is on the line. If I don't get this. He says it's okay, I'll get the job do you you'll have it you know tomorrow.

1281
01:57:49.680 --> 01:57:56.670
C. F. Payne: Anyway, did the job turned it in guy got it ran it ended up winning a gold medal society. Yeah.

1282
01:57:59.460 --> 01:58:03.750
John English: Well, the funny. You'll love this part about that's the end of that story. Chris was

1283
01:58:05.730 --> 01:58:05.970
C. F. Payne: He

1284
01:58:06.000 --> 01:58:06.480
C. F. Payne: Was

1285
01:58:07.470 --> 01:58:10.290
John English: Yeah, you. It was the old man.

1286
01:58:11.550 --> 01:58:18.540
John English: That his head was shaped like an apple and he had the worm like the female figure of a worm coming out of his head.

1287
01:58:19.860 --> 01:58:20.190
C. F. Payne: Out.

1288
01:58:20.700 --> 01:58:21.030
And

1289
01:58:23.460 --> 01:58:32.100
John English: I still ended up working for the same art director, the same. It was that same project. The next year, and Bob called my dad and he said

1290
01:58:33.060 --> 01:58:44.190
John English: Hey, I'm working for this this this art director that you work for last year and my dad's like of God and bob bob looks at it. Bob, there's a pause and Bob

1291
01:58:45.210 --> 01:58:46.380
John English: What did you do to him.

1292
01:58:49.980 --> 01:58:52.500
John English: He had some really interesting things to say about

1293
01:59:03.000 --> 01:59:04.260
John English: Fun times as an artist.

1294
01:59:07.080 --> 01:59:08.430
C. F. Payne: Those were the days, man.

1295
01:59:09.900 --> 01:59:12.660
C. F. Payne: I'm gonna mute this because I'm going to turn on my hair dryer.

1296
01:59:17.040 --> 01:59:18.120
John English: You're still good days.

1297
01:59:19.500 --> 01:59:19.980
John English: Yeah.

1298
01:59:20.730 --> 01:59:34.530
Montalvo Machado: That's why I love being here is just kind of talk that we've never have with anybody else in my, you know, and in my point of view, and just being around here. We got all other stories funny things. But you guys are the best.

1299
01:59:41.250 --> 01:59:41.550
Thank you.

1300
01:59:44.580 --> 01:59:49.680
John English: I love having you here. So I told my toddler when we were setting up tonight. It was like

1301
01:59:50.820 --> 01:59:53.940
John English: He lived down the block from now because I saw him every Thursday night.

1302
01:59:55.170 --> 01:59:59.670
Montalvo Machado: And it's really fun just I'm loving this food keep inviting me. I'll keep comment.

1303
02:00:00.300 --> 02:00:01.530
Montalvo Machado: I'm always I'm always here.

1304
02:00:02.790 --> 02:00:03.210
Montalvo Machado: You know,

1305
02:00:03.270 --> 02:00:05.310
John English: Invitation I'm here anytime you want.

1306
02:00:06.030 --> 02:00:09.000
Montalvo Machado: Oh, so be seeing me around, you know,

1307
02:00:10.680 --> 02:00:11.310
Montalvo Machado: Quite often

1308
02:00:13.710 --> 02:00:23.760
Montalvo Machado: I just have to maybe just one one time or another, just if I have some jobs on the table. I have to turn it down, but all the other days I'll be I'll be around.

1309
02:00:24.390 --> 02:00:25.710
John English: Now that's not acceptable.

1310
02:00:27.300 --> 02:00:28.080
Montalvo Machado: Do something

1311
02:00:35.400 --> 02:00:36.900
Montalvo Machado: Telling you got something else to do.

1312
02:01:02.670 --> 02:01:05.010
John English: Now, what are you working with the marker.

1313
02:01:06.480 --> 02:01:20.580
Montalvo Machado: Yeah, this is TOMO markers got two different that just this one, this one, I never use. I just don't don't really like it. I like the brush. One, it's really fun.

1314
02:01:24.330 --> 02:01:25.080
Montalvo Machado: You were talking about

1315
02:01:26.190 --> 02:01:34.950
Montalvo Machado: landscape painting and stuff. And it just, this is the kind of thing that I used to take with me when I did some jazz drawings and always

1316
02:01:35.430 --> 02:01:46.800
Montalvo Machado: You know, takes me back to when we were in Kansas and 9098 and Bart Ford's gave us an assignment for jazz clubs and doing a jazz poster.

1317
02:01:47.310 --> 02:01:56.340
Montalvo Machado: And we went to the just district. Let's just, you know, that was something really incredible for me because I've never been there.

1318
02:01:56.970 --> 02:02:05.040
Montalvo Machado: And we went to two or three different jazz bars at that night. And I said, well, I gotta do something like this. And when I get back home. It's just

1319
02:02:05.730 --> 02:02:10.260
Montalvo Machado: And I did it worked for a while, we, we did a sketch Jess think

1320
02:02:10.980 --> 02:02:24.570
Montalvo Machado: And this is the kind of material that I would take with me. It was just real quick marks and strokes and even in the dark. You can see what you're doing because you can't do that with pencils when you're

1321
02:02:25.200 --> 02:02:39.360
Montalvo Machado: Joining, you know, dark room and people just tumbling around you and you know punching here is just a excuse me, you want something else was just this kind of things, was it was really a lot of fun. I really enjoyed it.

1322
02:02:41.820 --> 02:02:48.720
John English: There's a you brought up a name of one of my favorite all time illustrators hard forks.

1323
02:02:49.050 --> 02:02:50.580
Montalvo Machado: Yeah, I'm a fan.

1324
02:02:51.090 --> 02:02:53.130
John English: Chris would probably agree with me on that one.

1325
02:02:55.470 --> 02:03:07.140
Montalvo Machado: Remember my reaction when you were talking to him once, I think it was a week before he came and you were just starting. You know, on the phone and said okay bark and I just bowed to you. Remember that

1326
02:03:08.640 --> 02:03:14.370
Montalvo Machado: I can't believe you're talking to Bart Forbes yeah he's coming next week and see. Oh God, he's coming.

1327
02:03:16.320 --> 02:03:22.140
John English: He's an amazing artist, the landscape work he's doing now is just outstanding.

1328
02:03:22.650 --> 02:03:26.670
John English: Yeah, I show his work all the time for

1329
02:03:27.900 --> 02:03:40.110
John English: Great Value control and DESIGN. IT HAS SOME OF THE NICEST re composition of nature that I've ever seen. Just beautiful work.

1330
02:03:43.230 --> 02:03:45.150
John English: With one of the nicest people on the planet.

1331
02:03:47.700 --> 02:03:49.290
Montalvo Machado: He's the grandfather. I love to have

1332
02:03:50.700 --> 02:03:52.920
Montalvo Machado: Tell me again tell that story again.

1333
02:03:54.480 --> 02:03:56.160
John English: Yeah, really good guy.

1334
02:03:58.020 --> 02:03:58.920
Montalvo Machado: Have you seen him lately.

1335
02:03:59.400 --> 02:04:04.170
John English: I have not. I haven't seen him in years, actually. But I spoken to him recently.

1336
02:04:05.910 --> 02:04:06.900
Montalvo Machado: And let's just

1337
02:04:07.470 --> 02:04:12.630
John English: Recent enough, I need to reconnect with them again soon. I feel bad. I haven't

1338
02:04:49.980 --> 02:04:52.230
Montalvo Machado: She's got some strong features ninja.

1339
02:05:24.000 --> 02:05:25.770
Montalvo Machado: Is he coming around some time.

1340
02:05:28.500 --> 02:05:33.390
John English: Here in a while. We need, we need to point a camera but Cook is what we need to do.

1341
02:05:34.320 --> 02:05:34.620
Yeah.

1342
02:05:36.570 --> 02:05:41.700
Montalvo Machado: Geez, I really loved his work so spontaneous so nice.

1343
02:05:41.970 --> 02:05:44.430
John English: Oh yeah, he is a monster. He is so good.

1344
02:05:48.240 --> 02:05:49.650
John English: Another very, very nice guy.

1345
02:05:50.970 --> 02:05:58.020
Montalvo Machado: Yeah, I never met him, but we're just, you know, France on online. He's very nice guy.

1346
02:06:00.480 --> 02:06:04.830
John English: He came and spent summer with us at the academy really enjoyed getting to know

1347
02:06:06.360 --> 02:06:09.270
John English: Very, very capable artist.

1348
02:06:17.820 --> 02:06:21.360
John English: He's been in here. He's posted a lot of stuff in here. I need to get him.

1349
02:06:23.040 --> 02:06:24.240
John English: I got it. I'm making a note.

1350
02:06:25.500 --> 02:06:25.950
Ashly Lovett: Yeah.

1351
02:06:26.760 --> 02:06:28.770
Ashly Lovett: I had the pleasure of meeting him in person.

1352
02:06:29.250 --> 02:06:30.180
Ashly Lovett: A few years back at

1353
02:06:31.800 --> 02:06:35.640
Ashly Lovett: The con. We've done a lot of the same gallery scenes.

1354
02:06:40.020 --> 02:06:40.560
Ashly Lovett: Very good.

1355
02:08:03.480 --> 02:08:03.870
John English: I know

1356
02:08:06.750 --> 02:08:08.340
John English: The older guys in the room.

1357
02:08:09.810 --> 02:08:11.400
John English: Your eyes ever just stopped working.

1358
02:08:13.560 --> 02:08:14.040
Oh, yeah.

1359
02:08:15.330 --> 02:08:15.720
John English: Mark

1360
02:08:16.080 --> 02:08:17.100
John English: I just hit a wall.

1361
02:08:19.500 --> 02:08:20.850
C. F. Payne: Oh yeah, you know,

1362
02:08:22.590 --> 02:08:29.730
C. F. Payne: And that's exactly what happened to you. You've got you just simply say, you know, I can't go any further, you just stop.

1363
02:08:30.630 --> 02:08:31.170
John English: And see

1364
02:08:32.970 --> 02:08:37.320
John English: I'm I'm I'm drawing with my contacts tonight.

1365
02:08:38.340 --> 02:08:39.000
John English: And I

1366
02:08:40.230 --> 02:08:45.270
John English: I keep forgetting and I rub my eyes get past Ellen, not a good thing.

1367
02:08:46.980 --> 02:08:48.420
Ashly Lovett: With my contacts I get a headache.

1368
02:08:53.340 --> 02:08:57.180
John English: Cant cannot contact. Sorry. It's a big dilemma for me.

1369
02:08:58.380 --> 02:09:06.030
John English: My wife tells me when I, where am I look younger. Because I don't have to wear glasses. But when I look in the mirror, because I can see I look a lot older

1370
02:09:08.070 --> 02:09:09.600
John English: I can see what I really look like

1371
02:09:15.330 --> 02:09:16.770
Ashly Lovett: This listen to your wife. That's what

1372
02:09:18.090 --> 02:09:19.950
John English: I do, thankfully.

1373
02:09:20.280 --> 02:09:22.080
Ashly Lovett: When in doubt, just always

1374
02:09:23.130 --> 02:09:23.880
John English: First of all,

1375
02:09:26.610 --> 02:09:27.990
C. F. Payne: First final

1376
02:09:29.190 --> 02:09:32.280
John English: I've been. I've been working since 730 this one.

1377
02:09:33.390 --> 02:09:34.320
John English: And when we're done.

1378
02:09:35.730 --> 02:09:38.760
John English: I get to go celebrate my 31st wedding anniversary.

1379
02:09:39.090 --> 02:09:39.600
Oh,

1380
02:09:41.220 --> 02:09:48.390
John English: That's a milestone. Yes. Well, I was actually trying to think through the math. It might be my 32nd

1381
02:09:50.130 --> 02:09:54.780
John English: It is that was born, I was we were married in 88 so it's my 30 seconds.

1382
02:09:57.090 --> 02:09:58.740
C. F. Payne: Congratulations. Great job.

1383
02:09:59.400 --> 02:09:59.790
Awesome.

1384
02:10:01.890 --> 02:10:03.090
John English: Best decision I ever made.

1385
02:10:05.490 --> 02:10:08.340
C. F. Payne: Absolutely. I know the feeling. Yeah.

1386
02:10:11.670 --> 02:10:13.680
C. F. Payne: It's always nice to know when you marry up

1387
02:10:21.810 --> 02:10:24.390
C. F. Payne: And you know that because all your friends tell you so.

1388
02:10:24.780 --> 02:10:25.350
That's right.

1389
02:10:30.090 --> 02:10:32.310
Bill Koeb: Funny say that because I just saw a

1390
02:10:33.540 --> 02:10:35.550
Bill Koeb: Photo posted by an artist, we know

1391
02:10:39.390 --> 02:10:41.580
Bill Koeb: With his beautiful wife and daughter.

1392
02:10:45.120 --> 02:10:46.440
Bill Koeb: To parent that he knows that.

1393
02:10:51.210 --> 02:10:52.740
Bill Koeb: Can you probably know what I'm talking about.

1394
02:10:53.400 --> 02:10:56.670
John English: I didn't see that. I don't know if it's it's Dale, if it's

1395
02:10:59.130 --> 02:11:02.910
John English: I don't know. You got me. Scott Anderson, maybe Scott twice. Beautiful.

1396
02:11:05.070 --> 02:11:05.340
And

1397
02:11:06.570 --> 02:11:07.800
Bill Koeb: Probably anybody that you know

1398
02:11:07.890 --> 02:11:08.970
John English: It's pretty much so.

1399
02:11:10.830 --> 02:11:14.190
John English: I know a lot of illustrators that are married to really great women.

1400
02:11:17.370 --> 02:11:17.730
And then

1401
02:11:18.780 --> 02:11:22.020
John English: I know there must be a fault in that woman somewhere to marry them.

1402
02:11:23.790 --> 02:11:26.040
C. F. Payne: They have to be great to put up with us.

1403
02:11:26.160 --> 02:11:30.060
John English: Yeah, but there's gonna there's gonna be a little bit of an issue. The fact that they went through.

1404
02:11:31.860 --> 02:11:32.970
John English: But I always tell me why.

1405
02:11:34.230 --> 02:11:35.790
John English: I'm trying to figure out what's wrong with you.

1406
02:11:37.110 --> 02:11:37.500
Bill Koeb: Oh,

1407
02:11:37.800 --> 02:11:39.630
John English: You bought into this

1408
02:11:43.350 --> 02:11:43.770
Montalvo Machado: Well,

1409
02:11:45.720 --> 02:11:49.320
Montalvo Machado: I heard the beep. There is, I think, my, my time is up. Right.

1410
02:11:50.790 --> 02:11:53.580
John English: You did hear the beep or if you need another minute or two. Take it.

1411
02:11:54.180 --> 02:11:57.360
Montalvo Machado: Okay, okay, just give her some some highlights

1412
02:11:57.810 --> 02:11:58.260
Shannon

1413
02:12:01.980 --> 02:12:06.810
John English: Hey, just a heads up, everybody. I'm only going to walk through Instagram tonight.

1414
02:12:07.980 --> 02:12:11.850
John English: If that's okay so we want to show your piece posted an Instagram.

1415
02:12:12.510 --> 02:12:16.710
Ashly Lovett: Yeah, cuz I'll be heading out after this one and i'll i'll post on Instagram.

1416
02:12:17.280 --> 02:12:18.600
Ashly Lovett: Yeah, my glory.

1417
02:12:19.350 --> 02:12:19.680
Bye.

1418
02:12:23.340 --> 02:12:25.680
John English: Yeah i again i get it.

1419
02:12:27.780 --> 02:12:31.230
C. F. Payne: Takes me way too long to be able to post, it'll take me a little while to get it.

1420
02:12:31.980 --> 02:12:33.540
John English: I was just talking about the attendees.

1421
02:12:38.250 --> 02:12:45.150
John English: It's a I was drawing with with my glasses off, I wear cheaters. When I have my

1422
02:12:46.740 --> 02:12:56.370
John English: Contact them. I have to wear like really, really low powered cheaters because the contacts I have them for hitting tennis balls, not for drawing

1423
02:12:58.380 --> 02:12:58.740
John English: So,

1424
02:12:58.950 --> 02:13:00.690
C. F. Payne: What's your priorities.

1425
02:13:00.750 --> 02:13:01.950
John English: Priorities right

1426
02:13:05.310 --> 02:13:09.600
John English: So I were cheaters. So I'm gonna have to put my glasses on to to

1427
02:13:11.310 --> 02:13:13.110
John English: Navigate through Instagram.

1428
02:13:17.130 --> 02:13:17.550
John English: As far as

1429
02:13:19.470 --> 02:13:20.340
John English: A prisoner color.

1430
02:13:20.940 --> 02:13:21.720
Montalvo Machado: Yeah, personal color.

1431
02:13:26.940 --> 02:13:30.540
Montalvo Machado: Was reliable pencils on Earth. Yeah.

1432
02:13:32.070 --> 02:13:32.700
John English: The go to

1433
02:13:34.500 --> 02:13:37.740
Ashly Lovett: My, my first art supplies was Christmas colors.

1434
02:13:38.370 --> 02:13:38.850
Yeah.

1435
02:13:40.080 --> 02:13:45.480
Montalvo Machado: It was fun, because there was a friend of mine who was just saying, well, I'm about to buy some some pencils.

1436
02:13:46.860 --> 02:13:59.310
Montalvo Machado: What do you think there's a walk. Go for Christmas colors. Let's see. Well, but the guy from the store. He just told me about the can dash thing. And, you know, and the fabric pastels and say, trust me.

1437
02:14:00.240 --> 02:14:03.630
Montalvo Machado: I've never seen anything like this was just go for the prisoner colors but

1438
02:14:03.720 --> 02:14:18.330
Montalvo Machado: But they're cheaper say exactly but they're the best. And then he ended up with the current dash thing and say, well, this guy from the store. He said he was good. I said, Okay, I'll just give you a you know a few of them. Just keep drawing

1439
02:14:18.450 --> 02:14:19.650
Ashly Lovett: Since they're so affordable.

1440
02:14:20.670 --> 02:14:21.300
Ashly Lovett: Giving some

1441
02:14:22.200 --> 02:14:33.570
Montalvo Machado: You know, it took like five seconds for him to regret. This is just tip, tip, tip, tip did something like this, say, oh my god, oh my god, no. What have I done

1442
02:14:35.190 --> 02:14:37.830
Montalvo Machado: Well, now you can't change it anymore fellow fellow

1443
02:14:39.960 --> 02:14:42.870
Montalvo Machado: You already spent your nips so

1444
02:14:44.640 --> 02:14:46.950
Montalvo Machado: Something done and by prism colors next time.

1445
02:14:50.250 --> 02:14:51.180
Montalvo Machado: We should be sponsored

1446
02:14:53.190 --> 02:14:53.730
John English: I agree.

1447
02:14:55.260 --> 02:14:59.010
Ashly Lovett: I've wanted that for new pastels, since I use them so often.

1448
02:15:00.060 --> 02:15:03.300
Bill Koeb: I remember reading, they did that in the 60s. When acrylics came out.

1449
02:15:09.030 --> 02:15:11.700
Bill Koeb: They had a few artists who had deals with them.

1450
02:15:14.100 --> 02:15:14.550
Bill Koeb: Supply.

1451
02:15:18.840 --> 02:15:20.700
Ashly Lovett: Company in the Czech Republic and

1452
02:15:21.900 --> 02:15:22.830
Ashly Lovett: I do like them.

1453
02:15:24.180 --> 02:15:32.100
Ashly Lovett: But I kind of lean towards all their graphite products, a little bit more than the pastels, just because I've gotten so used to, you know, these, this is my bread and butter.

1454
02:15:33.150 --> 02:15:37.200
Ashly Lovett: But there's isn't bad for like large scale stuff and working in large areas.

1455
02:15:38.040 --> 02:15:38.790
Ashly Lovett: Queen or

1456
02:15:39.000 --> 02:15:39.510
Montalvo Machado: Is that right

1457
02:15:39.900 --> 02:15:40.950
Ashly Lovett: Mm hmm. Yep.

1458
02:15:41.640 --> 02:15:42.630
Montalvo Machado: Yeah, they're really good.

1459
02:15:43.530 --> 02:15:47.160
Ashly Lovett: I talked about some of their wash recently, I need to play around with it.

1460
02:15:48.390 --> 02:15:49.020
Montalvo Machado: We

1461
02:15:51.030 --> 02:15:51.870
Montalvo Machado: Are we going here.

1462
02:15:53.040 --> 02:16:04.020
Montalvo Machado: One thing that I would never understand is how, how can you know the past old vessel, guys. And it just like design pastels and stuff. They never came to

1463
02:16:04.380 --> 02:16:05.220
Montalvo Machado: Gary Kelly.

1464
02:16:06.000 --> 02:16:07.620
Montalvo Machado: To do some covers

1465
02:16:07.980 --> 02:16:08.550
Montalvo Machado: Water

1466
02:16:09.030 --> 02:16:09.840
Montalvo Machado: For their things

1467
02:16:10.950 --> 02:16:15.240
John English: They get it all wrong. You know, it's interesting. I have a high school friend.

1468
02:16:16.440 --> 02:16:23.220
John English: That I haven't, I think, a senior one since I graduated high school and she works for

1469
02:16:26.730 --> 02:16:29.820
John English: The company that makes the cortex.

1470
02:16:34.590 --> 02:16:37.890
John English: And they, I mean it's a huge our company. I can't, I can't, I'm

1471
02:16:37.950 --> 02:16:38.280
John English: Trying

1472
02:16:38.700 --> 02:16:53.250
John English: To remember who it is. She works with this huge art supply company they pay, she's a really good artists and I wish I could think of the name of the company of the brands that she carries but she she travels around does little workshops and

1473
02:16:54.750 --> 02:16:56.010
John English: And promotes

1474
02:16:57.090 --> 02:17:06.300
John English: The brand all the time. So I keep meaning to call her to to actually think she's come to the last couple of the illustration isolation things

1475
02:17:07.980 --> 02:17:09.840
John English: Keep meaning to call her to talk to her.

1476
02:17:12.270 --> 02:17:16.530
John English: Just, just having her come to an event sometime when we do something live would be fun.

1477
02:17:17.100 --> 02:17:21.480
John English: You know, and, and then happened to bring a trailer full of arts

1478
02:17:24.480 --> 02:17:29.370
C. F. Payne: So john is, if I'm not mistaken, when we were when you had the academy out in

1479
02:17:30.570 --> 02:17:32.610
C. F. Payne: Richmond. There was a lady who was

1480
02:17:34.680 --> 02:17:37.170
John English: Yeah, absolutely. I met her at a

1481
02:17:40.710 --> 02:17:47.940
John English: Big convention in a in a EAA the National Arts. Right. It's an association for high school and

1482
02:17:50.580 --> 02:17:52.110
John English: I guess grade school and high school

1483
02:17:53.910 --> 02:18:10.500
John English: And they have this huge show every year. I mean its immense I mean they have you know 5000 attendees have art school teachers all over the country in it. And that's where all the the art teachers order their supplies for the year. So they'll go there in order and all the all the

1484
02:18:12.990 --> 02:18:21.270
John English: The big art supply stores are there and you can buy almost anything. And it was very interesting. And then she ended up coming to the Academy several times.

1485
02:18:22.980 --> 02:18:24.180
C. F. Payne: Yeah, I remember

1486
02:18:26.190 --> 02:18:28.470
John English: Loading loading this up with materials.

1487
02:18:31.020 --> 02:18:31.830
C. F. Payne: It was nice.

1488
02:18:32.280 --> 02:18:32.670
Yeah.

1489
02:18:33.990 --> 02:18:35.130
John English: free stuff is good.

1490
02:18:36.600 --> 02:18:51.210
C. F. Payne: And I remember you know she she had a student that she knew in the Cincinnati area. So it was this young guy and you know I met them and talk with them you know we we communicated for a while and then I don't know what happened. He kind of

1491
02:18:53.310 --> 02:18:54.630
C. F. Payne: Always kind of figured, you know,

1492
02:18:55.800 --> 02:19:02.730
C. F. Payne: I'm here if he wants to call anytime. Eventually you know he he stopped calling. I don't know what the deal was something else came up, or what

1493
02:19:03.570 --> 02:19:04.560
John English: He went to law school.

1494
02:19:05.580 --> 02:19:08.340
C. F. Payne: Yeah, probably engineer became an engineer.

1495
02:19:11.190 --> 02:19:12.420
Montalvo Machado: JOHN I think I'm done here.

1496
02:19:12.900 --> 02:19:14.760
John English: Awesome. Thank you. My taco.

1497
02:19:17.160 --> 02:19:18.390
Bill Koeb: All my cohort.

1498
02:19:19.200 --> 02:19:21.750
Bill Koeb: RICO you le AR t

1499
02:19:23.670 --> 02:19:24.180
Montalvo Machado: Thank you.

1500
02:19:25.020 --> 02:19:30.210
John English: Very, very nice. Let me okay let me. I'm gonna go start with Chris gotta bounce around the room, real quick.

1501
02:19:33.360 --> 02:19:36.750
John English: Spotlight video. Whoa. Very nice.

1502
02:19:39.360 --> 02:19:40.290
John English: Very nice.

1503
02:19:41.490 --> 02:19:42.570
Bill Koeb: Oh, that's beautiful, Chris.

1504
02:19:43.590 --> 02:19:45.630
C. F. Payne: Well, didn't get as far as I wouldn't like but

1505
02:19:46.080 --> 02:19:47.280
John English: Wow, good.

1506
02:19:47.910 --> 02:19:49.320
Ashly Lovett: Looking forward to seeing that finished.

1507
02:19:51.210 --> 02:19:53.010
John English: Ashley is up next.

1508
02:19:55.710 --> 02:19:56.070
John English: Some

1509
02:20:00.360 --> 02:20:01.800
C. F. Payne: Great progress on yours.

1510
02:20:02.490 --> 02:20:06.570
John English: Very sweet, very nice. Bill co

1511
02:20:11.040 --> 02:20:11.580
John English: Awesome.

1512
02:20:11.910 --> 02:20:13.140
C. F. Payne: Cool, yeah.

1513
02:20:14.910 --> 02:20:15.780
John English: Very, very fun.

1514
02:20:18.420 --> 02:20:21.660
John English: We just saw him on taco. So, Audrey.

1515
02:20:28.200 --> 02:20:28.980
John English: Oh, really fun.

1516
02:20:32.490 --> 02:20:32.970
John English: I love it.

1517
02:20:34.230 --> 02:20:34.830
John English: Very cool.

1518
02:20:36.810 --> 02:20:38.610
John English: Very, very Grace Jones.

1519
02:20:39.780 --> 02:20:40.290
Montalvo Machado: Yeah yeah

1520
02:20:42.210 --> 02:20:43.710
Bill Koeb: Ginsburg behind there a tree.

1521
02:20:44.100 --> 02:20:47.100
John English: That was trying, I'm trying to see what what what's to the right.

1522
02:20:48.840 --> 02:20:50.130
Ashly Lovett: I don't think she's at her desk.

1523
02:20:50.460 --> 02:20:51.960
Ashly Lovett: Yes. Okay.

1524
02:20:52.860 --> 02:20:53.340
Sweet.

1525
02:20:54.960 --> 02:20:56.130
Audrey Benjaminsen: unmuted.

1526
02:20:56.580 --> 02:21:02.040
John English: Yes, it is that just because you felt like doing it, or is it

1527
02:21:05.010 --> 02:21:08.370
Audrey Benjaminsen: I was doing it for last day of class acrylic panel.

1528
02:21:09.480 --> 02:21:12.930
John English: That's awesome. What a yeah incredible individually.

1529
02:21:12.930 --> 02:21:21.000
Audrey Benjaminsen: Beautiful. Yeah, I figured. That would be a nice stated, the nice thing to end the class. I'm sorry. I didn't realize I was muted.

1530
02:21:25.110 --> 02:21:27.300
Audrey Benjaminsen: I get so used to that in life you know just

1531
02:21:29.820 --> 02:21:32.760
Audrey Benjaminsen: No, I'm kidding. Um,

1532
02:21:35.100 --> 02:21:35.700
Audrey Benjaminsen: Yeah.

1533
02:21:36.840 --> 02:21:47.370
Audrey Benjaminsen: That's one of my favorite things about the demos and class. Sometimes if I can do something that I wanted to just, you know, make for fun that had to do with something that happened.

1534
02:21:48.570 --> 02:21:49.260
Audrey Benjaminsen: In the world.

1535
02:21:50.490 --> 02:21:54.810
Audrey Benjaminsen: That can back me a good way to make sure you follow her. Yeah.

1536
02:21:55.290 --> 02:22:02.730
John English: I apologize. I'm looking at the chat, kind of going backwards and there was a whole bunch of questions there. Nothing critical for the room.

1537
02:22:03.870 --> 02:22:09.420
John English: And I just didn't pay any attention to the chat, because I was doing, trying to run the room.

1538
02:22:12.210 --> 02:22:13.440
John English: That's why we're missing Timmy.

1539
02:22:17.160 --> 02:22:23.790
John English: Beautiful, everybody. Thank you all so much, let's bounce over and take a quick look on Instagram.

1540
02:22:25.020 --> 02:22:28.200
John English: And I hope everyone's okay with just sharing Instagram, you

1541
02:22:29.910 --> 02:22:32.580
John English: Will see women go through it quickly. I don't know how many people

1542
02:22:32.580 --> 02:22:35.670
John English: posted it first time I'll go through, but give me a second here.

1543
02:22:36.720 --> 02:22:38.040
Ashly Lovett: Well, I have to pop off.

1544
02:22:38.580 --> 02:22:39.600
John English: Hey, thank you.

1545
02:22:41.760 --> 02:22:44.340
Ashly Lovett: All right y'all, have a good evening, guys. It was a lot of fun.

1546
02:22:44.640 --> 02:22:47.340
John English: Your real truth, are you doing this.

1547
02:22:47.430 --> 02:22:49.650
Ashly Lovett: Thank you. Yep. We got another month of

1548
02:22:49.740 --> 02:22:50.130
Ashly Lovett: Well,

1549
02:22:50.190 --> 02:22:51.690
Ashly Lovett: If everything goes according to plan.

1550
02:22:53.280 --> 02:22:53.640
All right.

1551
02:22:56.880 --> 02:22:58.140
All right, give me a second here.

1552
02:23:00.810 --> 02:23:01.710
And then I'll share

1553
02:23:11.580 --> 02:23:12.330
Okay.

1554
02:23:18.120 --> 02:23:22.170
John English: Jimmy's rule is don't show them anything. They can't see.

1555
02:23:23.190 --> 02:23:23.700
John English: So,

1556
02:23:26.100 --> 02:23:27.660
John English: I'm trying not to do that.

1557
02:23:29.190 --> 02:23:30.570
Audrey Benjaminsen: As far as the artwork.

1558
02:23:31.350 --> 02:23:32.160
John English: my desktop.

1559
02:23:35.460 --> 02:23:36.600
John English: Is always john

1560
02:23:38.280 --> 02:23:40.050
John English: It's, it's always dumb stuff I'm

1561
02:23:41.280 --> 02:23:41.760
John English: Nothing.

1562
02:23:42.990 --> 02:23:43.620
Audrey Benjaminsen: Oh, I know I'm

1563
02:23:43.800 --> 02:23:46.290
John English: Like documents for the school, things like that.

1564
02:23:46.920 --> 02:23:49.770
Audrey Benjaminsen: Right, whatever a bowl of YouTube until

1565
02:23:52.020 --> 02:23:52.230
Audrey Benjaminsen: Like

1566
02:23:54.210 --> 02:23:56.700
John English: Animals doing funny things. That's my favorite

1567
02:24:01.500 --> 02:24:05.280
John English: Wow, I'm just scrolling through like clicking it all these at a distance.

1568
02:24:06.780 --> 02:24:09.240
John English: That opening them up. There's some great stuff in here.

1569
02:24:10.860 --> 02:24:11.280
Okay.

1570
02:24:15.780 --> 02:24:16.290
John English: Peter

1571
02:24:17.910 --> 02:24:18.870
John English: Very nice.

1572
02:24:19.050 --> 02:24:20.010
C. F. Payne: I look at that one.

1573
02:24:21.330 --> 02:24:21.750
Bill Koeb: Yeah.

1574
02:24:24.420 --> 02:24:24.930
John English: Wow.

1575
02:24:26.970 --> 02:24:27.210
Montalvo Machado: So,

1576
02:24:27.990 --> 02:24:29.640
John English: Where does it say well,

1577
02:24:32.910 --> 02:24:33.480
John English: Right.

1578
02:24:34.470 --> 02:24:34.980
There. Right.

1579
02:24:36.540 --> 02:24:42.390
John English: And I can't. I have a menu at the bottom is it show I can't the pose. Hold on.

1580
02:24:43.620 --> 02:24:48.840
John English: Yeah, is their feet in it either. So here we go. It is full figure

1581
02:24:52.770 --> 02:24:53.280
John English: Fine.

1582
02:24:57.810 --> 02:24:58.560
John English: All right.

1583
02:25:01.590 --> 02:25:02.460
John English: Very nice.

1584
02:25:05.520 --> 02:25:12.240
John English: I love that again so many different interpretations of the same pose it gets me every time.

1585
02:25:13.980 --> 02:25:15.870
John English: You start bouncing through them and there's just

1586
02:25:17.010 --> 02:25:17.610
John English: That guy just

1587
02:25:18.810 --> 02:25:20.820
John English: Taryn. Very nice.

1588
02:25:23.190 --> 02:25:28.230
John English: I can't tell. I don't know if that's the Tara and I spoke to her, just a couple days ago. Very nice word

1589
02:25:30.990 --> 02:25:32.010
John English: This is nice drawing

1590
02:25:34.260 --> 02:25:39.510
John English: That angle always messes with people while Gary Got it right so it's

1591
02:25:39.930 --> 02:25:45.210
John English: Yeah, really got that that angle and pose nice like the mark making

1592
02:25:50.700 --> 02:25:51.570
John English: Romano type

1593
02:25:51.810 --> 02:25:52.140
On

1594
02:25:54.570 --> 02:25:56.010
John English: Yeah. Sweet.

1595
02:25:57.690 --> 02:25:59.220
John English: Great simplification of that.

1596
02:26:02.610 --> 02:26:03.210
John English: Nice.

1597
02:26:06.960 --> 02:26:07.410
That's

1598
02:26:08.940 --> 02:26:12.540
John English: That is a very different take very, very, very interesting.

1599
02:26:18.030 --> 02:26:19.170
John English: Good job.

1600
02:26:22.590 --> 02:26:28.620
John English: That's it. You know that's drawing those roses in there and the head and everything that's a, that's a big challenge in that time period.

1601
02:26:31.230 --> 02:26:34.980
Montalvo Machado: One word. They have dogs. A good drawer, you know, love his work.

1602
02:26:35.490 --> 02:26:37.050
C. F. Payne: Yeah. Great job, Doug.

1603
02:26:37.560 --> 02:26:40.320
John English: Very nice. That's very nice.

1604
02:26:43.620 --> 02:26:44.010
Portrait

1605
02:26:45.600 --> 02:26:46.920
John English: Whoa, whoa.

1606
02:26:47.670 --> 02:26:48.180
C. F. Payne: Yeah.

1607
02:26:48.270 --> 02:26:55.230
John English: That's done also. Well, that's an interesting, interesting is you look devalue control.

1608
02:26:55.380 --> 02:26:56.670
Montalvo Machado: Scratch board of the digital

1609
02:26:58.290 --> 02:26:59.430
Montalvo Machado: I think it's digital right

1610
02:26:59.820 --> 02:27:08.310
John English: I think so, yeah, we'll just we'll make ourselves feel and feel better and say it's digital. He didn't do that in a scratch board and printed on the same

1611
02:27:10.170 --> 02:27:10.860
C. F. Payne: Little quicker.

1612
02:27:11.220 --> 02:27:11.610
Yeah.

1613
02:27:13.980 --> 02:27:14.550
John English: Nice.

1614
02:27:17.490 --> 02:27:17.850
Audrey Benjaminsen: Wow.

1615
02:27:18.750 --> 02:27:19.830
John English: That's really nice to

1616
02:27:21.540 --> 02:27:22.020
Beautiful.

1617
02:27:29.430 --> 02:27:30.060
John English: Very good.

1618
02:27:35.520 --> 02:27:43.560
John English: So important in that in that profile to just nail the shape so close, and you did a really good job with it there.

1619
02:27:45.510 --> 02:27:46.950
John English: This is interesting. Nice painting.

1620
02:27:47.460 --> 02:27:47.850
Yeah.

1621
02:27:52.710 --> 02:27:53.160
John English: Color

1622
02:27:58.530 --> 02:27:59.130
John English: Good job.

1623
02:28:00.360 --> 02:28:00.570
Montalvo Machado: Nice.

1624
02:28:01.860 --> 02:28:02.490
John English: Very nice.

1625
02:28:06.570 --> 02:28:08.760
John English: Very good place in

1626
02:28:10.140 --> 02:28:10.860
John English: 30 minutes

1627
02:28:16.230 --> 02:28:16.680
John English: Fun.

1628
02:28:18.120 --> 02:28:18.780
John English: chalkboard.

1629
02:28:27.630 --> 02:28:30.210
John English: So many different interpretations. That's a good one. Check.

1630
02:28:33.210 --> 02:28:33.930
John English: Good lightness.

1631
02:28:47.280 --> 02:28:48.450
John English: All kinds of good stuff.

1632
02:28:58.470 --> 02:29:03.960
John English: What happens when you're shooting I'm sharing. I got all these menus open. They keep popping up in front of the images.

1633
02:29:05.670 --> 02:29:07.380
Bill Koeb: Tyler this one.

1634
02:29:10.260 --> 02:29:11.520
C. F. Payne: Wow it that

1635
02:29:14.460 --> 02:29:16.950
Montalvo Machado: The green reflection moment chin is really nice.

1636
02:29:20.340 --> 02:29:22.050
John English: Wow, look at the energy in this thing.

1637
02:29:22.620 --> 02:29:23.910
Montalvo Machado: Mm hmm. Cool.

1638
02:29:26.040 --> 02:29:26.490
Montalvo Machado: Hey, Jay.

1639
02:29:28.830 --> 02:29:29.280
John English: Nice.

1640
02:29:35.670 --> 02:29:35.910
Montalvo Machado: That's

1641
02:29:37.230 --> 02:29:37.860
Really nice.

1642
02:29:42.270 --> 02:29:43.650
John English: That's fine, that's

1643
02:29:49.530 --> 02:29:49.890
John English: Fine.

1644
02:29:54.480 --> 02:29:54.990
John English: Please.

1645
02:29:56.220 --> 02:29:57.360
John English: Turn something different.

1646
02:30:02.040 --> 02:30:07.110
John English: They just did the did an oil painting spent two hours. It's very nice.

1647
02:30:12.690 --> 02:30:13.020
Yeah.

1648
02:30:17.460 --> 02:30:18.120
John English: Good drawing

1649
02:30:19.350 --> 02:30:21.030
John English: Oh yeah, very good.

1650
02:30:21.450 --> 02:30:22.200
Bill Koeb: Oh, nice one.

1651
02:30:24.120 --> 02:30:24.720
John English: Really good one.

1652
02:30:26.640 --> 02:30:27.960
John English: Kathleen Bradshaw

1653
02:30:31.560 --> 02:30:31.980
Audrey Benjaminsen: Yep.

1654
02:30:33.690 --> 02:30:35.730
John English: Yeah, that's pretty ambitious. I mean, look at

1655
02:30:37.230 --> 02:30:37.950
John English: Yes.

1656
02:30:42.450 --> 02:30:43.170
C. F. Payne: There we go.

1657
02:30:43.710 --> 02:30:44.730
John English: That's nice. AJ

1658
02:30:49.650 --> 02:30:51.060
John English: Well, that's fine. Yeah.

1659
02:30:52.260 --> 02:30:52.950
John English: It's really fun.

1660
02:30:54.480 --> 02:30:55.110
John English: To be in that

1661
02:30:59.070 --> 02:30:59.430
John English: Wow.

1662
02:31:01.470 --> 02:31:03.450
John English: I think that pose was popular Chris

1663
02:31:04.080 --> 02:31:05.100
C. F. Payne: Yeah, that's a good one.

1664
02:31:09.540 --> 02:31:10.440
John English: That's a good ones.

1665
02:31:13.980 --> 02:31:14.520
John English: Very fun

1666
02:31:18.240 --> 02:31:18.870
John English: Nice.

1667
02:31:20.130 --> 02:31:21.930
John English: People are getting really ambitious in here.

1668
02:31:24.450 --> 02:31:29.370
John English: Every Chris, you know, everybody, the first several weeks was just drawing

1669
02:31:30.480 --> 02:31:34.260
John English: You know, using really just doing drawings and maybe using pesto.

1670
02:31:34.890 --> 02:31:35.280
C. F. Payne: Yeah.

1671
02:31:35.520 --> 02:31:37.320
John English: And then you decided to start painting.

1672
02:31:39.030 --> 02:31:44.010
John English: You got the ruler out and everybody okay the challenges on everybody's using all these different materials.

1673
02:31:44.340 --> 02:31:45.720
Audrey Benjaminsen: Oh, George.

1674
02:31:47.040 --> 02:31:48.450
C. F. Payne: George got in on the act.

1675
02:31:49.050 --> 02:31:54.750
John English: This is really fun. Yeah, but we were we were drawing and pastel until you like took it to another level.

1676
02:31:57.600 --> 02:31:59.850
John English: George, George Drew and procreate last week.

1677
02:32:00.960 --> 02:32:02.430
C. F. Payne: Oh wow, I bet that was cool.

1678
02:32:02.940 --> 02:32:10.380
John English: Yeah, he's not. He has a six hour painting class right before this thing he gets done right before it starts, he's pretty wiped

1679
02:32:11.100 --> 02:32:15.900
C. F. Payne: And that's what we were talking today is I'm going to opt in his class.

1680
02:32:16.680 --> 02:32:17.310
He's gonna talk

1681
02:32:18.600 --> 02:32:19.200
John English: Very cool.

1682
02:32:24.630 --> 02:32:25.320
John English: Very nice.

1683
02:32:30.180 --> 02:32:32.310
John English: That's simple works.

1684
02:32:35.160 --> 02:32:36.960
John English: So many different interpretations

1685
02:32:39.420 --> 02:32:39.840
He's

1686
02:32:40.920 --> 02:32:41.430
John English: Setting

1687
02:32:43.560 --> 02:32:45.030
John English: It up become the

1688
02:32:46.470 --> 02:32:47.550
John English: The portrait champ.

1689
02:32:49.170 --> 02:32:50.580
John English: She's been posting tons of them.

1690
02:32:58.170 --> 02:32:58.410
Right.

1691
02:33:00.000 --> 02:33:03.780
John English: I might have press the wrong button there. Let's see. Let's see if I got all these

1692
02:33:05.850 --> 02:33:07.710
John English: We're good here so far.

1693
02:33:10.290 --> 02:33:16.380
John English: I know there's more. It just hadn't caught up yet. So we're in the next that this is next week or last week.

1694
02:33:17.850 --> 02:33:21.180
John English: So these last few I think I missed. These last few our work backwards.

1695
02:33:24.720 --> 02:33:25.380
John English: That's nice.

1696
02:33:35.580 --> 02:33:36.270
John English: Nice Randy.

1697
02:33:44.490 --> 02:33:47.340
John English: Interesting emphasis on the background there to describe the shirt.

1698
02:33:52.350 --> 02:33:53.130
John English: Very nice.

1699
02:33:55.290 --> 02:33:55.920
John English: That's good one.

1700
02:33:57.480 --> 02:33:58.470
John English: Like that attitude.

1701
02:33:59.040 --> 02:33:59.370
Yeah.

1702
02:34:01.470 --> 02:34:01.950
Montalvo Machado: Solid

1703
02:34:02.460 --> 02:34:03.600
John English: Yeah, it looked really confident

1704
02:34:08.400 --> 02:34:08.880
John English: Job.

1705
02:34:11.430 --> 02:34:13.620
John English: I was gonna miss a whole bunch of these i i'm

1706
02:34:15.060 --> 02:34:17.640
John English: Going to skip over a bunch. Very nice.

1707
02:34:20.670 --> 02:34:21.870
John English: My computer how to catch up.

1708
02:34:24.690 --> 02:34:25.350
Montalvo Machado: bold colors.

1709
02:34:29.550 --> 02:34:32.880
John English: It's funny. It's like I'm Audrey still painting.

1710
02:34:34.410 --> 02:34:35.280
John English: Work on his

1711
02:34:35.430 --> 02:34:38.460
John English: Chris, I can see rendering and Chris's underneath now.

1712
02:34:40.560 --> 02:34:41.160
John English: Interesting.

1713
02:34:43.590 --> 02:34:44.070
John English: That's fine.

1714
02:34:48.240 --> 02:34:49.020
John English: That's nice, too.

1715
02:34:50.250 --> 02:34:50.940
John English: Good attitude.

1716
02:35:00.240 --> 02:35:03.630
C. F. Payne: That's fine. Wow. What's that what nice tone over that.

1717
02:35:03.840 --> 02:35:04.530
John English: Yeah, really.

1718
02:35:05.070 --> 02:35:05.490
Huh.

1719
02:35:07.230 --> 02:35:09.000
John English: It's like they were watching you, Chris.

1720
02:35:11.010 --> 02:35:12.120
C. F. Payne: Started something

1721
02:35:13.680 --> 02:35:17.190
John English: I don't know if that was put down with a ruler didn't look like it but maybe it was

1722
02:35:18.330 --> 02:35:21.270
John English: The same effect similar effect there ya.

1723
02:35:23.970 --> 02:35:30.030
John English: Know, so like the I like the loose, you know, drawing the frame around it, too. I think that's interesting that

1724
02:35:31.050 --> 02:35:35.940
John English: That he repented. Eat the line and some really diverse Mark making in that piece. It's very interesting.

1725
02:35:38.610 --> 02:35:39.390
John English: It's nice.

1726
02:35:43.320 --> 02:35:45.150
John English: Wow, nice Randy.

1727
02:35:55.590 --> 02:36:00.060
John English: Ambitious getting all that in there. I think we, I think we went back a year.

1728
02:36:00.270 --> 02:36:07.530
John English: Right, okay. So if you guys don't mind, I think I'll unless there's a huge call to do Facebook.

1729
02:36:09.960 --> 02:36:12.990
John English: But I'd really like to go see my wife, so

1730
02:36:14.940 --> 02:36:33.840
John English: Everybody Montalvo Audrey Doris bill Ashley who's already left. Thank you so much for being in here tonight and showing off your wares extremely well done and a tremendous amount of fun. Everybody that joined us. Thank you so much. I really appreciate it.

1731
02:36:35.460 --> 02:36:36.060
Montalvo Machado: I said hi

1732
02:36:36.990 --> 02:36:38.310
C. F. Payne: Everybody thanks tonight.

1733
02:36:38.730 --> 02:36:40.320
John English: All right, we'll see you all next week.

1734
02:36:40.860 --> 02:36:41.910
Montalvo Machado: Okay, come on man.

1735
02:36:42.180 --> 02:36:42.660
Alright.

1736
02:36:43.950 --> 02:36:44.610
John English: Have a good night.

1737
02:36:45.060 --> 02:36:46.500
Montalvo Machado: All right, right. Enjoy.

Enrollment Closes Friday. Save Your Spot Now

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