Illustration Isolation: Episode 29, Figure Drawing Richard Allen Photography

During this episode, we discuss at length our “Quarantine/Desert Island: Dinner with any artist living or dead”, our favorite movies to revisit during quarantine, working digitally vs. traditionally, and Ashly shares her insights on using Patreon as an entrepreneurial tool.

If you enjoy drawing with us on Thursdays, be sure to check out Raymond Bonilla’s upcoming painting course, Painting the Head: From Paint to Pixel. You can learn more about the course here >>

About Richard Allen
Photography for me is about capturing “that moment” when the light, emotion and movement all come together. I see beauty and emotion in the movement of sport and use my skill in lighting and the camera to capture that sweet spot when all that comes together. While bringing a authentic and current tone by always looking at new ways of approaching projects

I also work with moving image creating short films as well as creating moving content such as animated Gifs and Cinemagraphs.

I work with many global brands for their advertising campaigns in the Sports and Entertainment industry . As well as working on many of my passion projects.

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Episode 29 Transcript:

This transcript is automated by Zoom and contains typos, misspellings, and may inaccurately reflect what was actually stated by the artist. We apologize for the inconvenience. 

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John English: Just remember, we're going up against the debates tonight.

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Bill Koeb: Nobody wants to watch those

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John English: Are trying to get Obama

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John English: Obama to draw with us tonight.

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Raymond Bonilla: Yeah, I got my money and illustration isolation.

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John English: Okay, I really appreciate y'all being here.

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John English: So long as well.

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John English: So far I'm in the room with us. Obviously the Trayvon Ray Binya CFP pain. You'll cope and there's somebody else. Somebody else here which I can't

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John English: It's Timmy twice.

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Tim Trabon: Twice.

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Yeah.

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John English: Real quickly.

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John English: I'm getting an echo here, Timmy.

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John English: Okay, okay. So, real quickly. This is brought to you by visual arts passage and like every Thursday night, we're going to be doing for poses for 20 minute poses tonight we're going to spotlight some really great drivers that hopefully you'll draw along with us. We have the

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John English: The

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John English: The reference up on the website illustration isolation or visual arts passage, forward slash reference. Is that right, Timmy.

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Tim Trabon: No, it's not.

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John English: Okay, I'm sorry, tell me what it is.

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Tim Trabon: I'll send it into the chat.

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John English: Okay, thank you very much. I get it wrong. Every time I apologize.

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John English: Tonight the as always 20 minute poses. If you can after each pose, please post your work, either in Facebook or in Instagram.

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John English: Hashtag illustration isolation.

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John English: Thank you all for being here. Thank you to the art house and Richard Allen, who is the photographer whose work we're using tonight.

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John English: Terrific stuff. And we are very grateful that they allow us to do this. So thank you all. I think we're, we're ready to go. I'm ready to press the timer and we have Raven here kicking off.

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Raymond Bonilla: Alright, alright.

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Raymond Bonilla: Everyone. Thanks again for joining us.

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John English: Welcome, Ray.

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Raymond Bonilla: Thanks for having me back.

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John English: The doors always open for you.

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Raymond Bonilla: It was closed. Last time I checked, but

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John English: Well,

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Raymond Bonilla: I went I went I went under Dale's name so

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John English: There you go. I didn't say I didn't say we were going to, you know, open the room to you, but the door.

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Raymond Bonilla: The door leads to another lock door.

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John English: That's right.

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John English: All right.

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Bill Koeb: keep knocking, but you can't come in.

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Raymond Bonilla: Yeah yeah

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John English: Alright, so hey

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John English: I'm gonna

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John English: I'm gonna hit the timer you raise working digitally tonight. What are you working or are you working in Photoshop or working to procreate.

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Raymond Bonilla: Your QA, I am working in Photoshop. Right.

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And

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Raymond Bonilla: Yeah, I'm just

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Raymond Bonilla: Basically just blocking this this thing out. I really love the reference. I'm just trying to figure out, actually.

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You just

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Raymond Bonilla: Figure out just the composition here, which I think I might do.

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Tim Trabon: Everybody if you if you're joining for the first time tonight.

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Tim Trabon: Be sure to check the photos there.

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Raymond Bonilla: On the website just

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Tim Trabon: Be sure to refresh and somebody just asked which picture what's the picture on ravens desktop so

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Tim Trabon: There you go.

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Raymond Bonilla: I can full screen that this is the it's this one, folks.

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Raymond Bonilla: That's the one we're going

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Raymond Bonilla: Alright, so I try to figure out now like working digitally. It's especially early on and performance of

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Raymond Bonilla: Sketching first like in my sketchbook and then taking a quick photo of it and

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Raymond Bonilla: Working digital on top of it. So I can iterate really quickly. And I find I really enjoy it and

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Raymond Bonilla: This to work with a lot of like, working, working with a lot of tracing paper back in in school and I

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Raymond Bonilla: Like the idea that I could just sort of layer things until they just worked, you know, and keep the best parts and then discard the rest of the things

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John English: tracing paper like old fashioned layering system.

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Raymond Bonilla: Oh yeah, yeah, yeah.

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John English: Yes, we've Christmas talking about that earlier today.

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Raymond Bonilla: You know the thing about it is it's almost like you could create like a paper.

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Raymond Bonilla: sculpture of like

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Raymond Bonilla: Your stuff, you know, and I always find that like super helpful. I don't know why is it the physical aspect really is important because you just get that instant feedback.

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Raymond Bonilla: And you can move as fast as your hands move, which is really nice.

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Raymond Bonilla: And I remember like there's this

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Raymond Bonilla: There's so many awesome things. I mean, I just remember my teacher

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Raymond Bonilla: Bill Mon showing us is tracing papers paper layouts and just being blown away that someone could kind of id like that, you know, and what you could do with it and

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Raymond Bonilla: You know, just simple things like my mind was blown like he's like, well, if I wanted to do reverse the

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Raymond Bonilla: The image. All I needed to do is just click the paper over and I'm like, oh my god, he just mirrored the image and now it's gone from right to left go left to right. It's a brilliant, you know,

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John English: Ray I I have somewhere in my possession be difficult for me to find it, but I'm sure I can find it somewhere. I have a video of Gary Kelly doing a demo.

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Raymond Bonilla: I'm tracing all going through

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Raymond Bonilla: That man.

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John English: It's one of the more remarkable things I've ever seen.

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Raymond Bonilla: Cash that's

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John English: First you

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John English: Know the the drawing an element of Gary Kelly.

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John English: Right. And that is, you know, his design what he does with designing it takes a very straightforward photograph of

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John English: A couple dancing that he just pulled out of a

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John English: Book of and they were actually like jitterbug in

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John English: And they any turn it completely changed the dance style completely re compose the picture. It was astounding.

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John English: And wow, you're all happened in about 20 minutes

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John English: Amazing.

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John English: Bit of information for students, but it was just, you know, you saw the saw the flexibility and what he could do with it was just outrageous.

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Raymond Bonilla: Right, right. That's the thing. Like it's it's it's that that at the end of the day, it's, it's all about design. Right. And it's, you could see that this case in point with from what you were describing with Gary as

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You know,

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Raymond Bonilla: Actually

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Raymond Bonilla: Chris, you, you, you like to do you like to work on tracing paper writer.

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C. F. Payne: I did that for yeah I did that right for the first 30 years

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Raymond Bonilla: Yeah, because your, your, your book. We were actually when you left

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Raymond Bonilla: Last time we were

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Raymond Bonilla: Talking about your sketchbook.

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C. F. Payne: Mm hmm.

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And

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Raymond Bonilla: The that you have published and there was, I think there were a couple of tracing paper ones in there.

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C. F. Payne: Most of those words almost were

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Raymond Bonilla: Such a nice clarity, you can you can get with that and

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Raymond Bonilla: And

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C. F. Payne: I just like the

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C. F. Payne: Fact that you, you start with the tread the first layer and you just do a gesture. I mean, try to get it. You know, you just if you can get it in 15 seconds 30 seconds and then boom, throw it in pro your second layer in and start refining

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Raymond Bonilla: Right, right.

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C. F. Payne: Lisa office, something that's very fresh.

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Raymond Bonilla: You know, I, I remember having took a class at

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Raymond Bonilla: Like a summer class over at a School of Visual Arts one summer and this is before I was like, it's still an undergrad and it was a a figure drawing for a comic books class and he was taught by an artist by the name of Sam em and dolla, I don't know if anybody's ever heard of South

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C. F. Payne: Or yeah

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Raymond Bonilla: Yeah, and I didn't have the time. I didn't know who he was. And then I realized that he was like, used to be editor and DC Comics and worked at Marvel. And I remember

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Raymond Bonilla: Him that was like probably the for the very first time when i when i saw tracing paper at work. And I remember thinking, telling him like

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Raymond Bonilla: I just couldn't like draw something finished the way he was doing it. Or like, and I was looking at his finished work. So he brought in a bunch of originals, like a Batman that he had illustrated and

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Raymond Bonilla: You know, all of these things like even breakdowns of like the color plates from from Marvel and he was

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Raymond Bonilla: I think it was the editor of Marvel fanfare fan. One of the ones that like all of the at the time the

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Raymond Bonilla: The artist. I got their first start with with sort of

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Raymond Bonilla: Get a gig doing that, you know, just as a tryout

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Raymond Bonilla: Right and and he he had showed me like he, he said. So you just kind of just drop it. And he's like, No, no, no, it's just

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Raymond Bonilla: Here's like, give me your trace of it because he had to skip tracing paper, and he's like,

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Raymond Bonilla: You could start out with something like this and he did exactly what you were doing like that you described. You just threw a scribble down. It says if you

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Raymond Bonilla: Like, one thing you don't like another thing, then you could put another thing on top of that, like maybe like the legs, but you don't like the arms and the drawing you arms and then you just keep combining them until they work and I thought like, oh,

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C. F. Payne: And then you can slide it around, you know, you get something so let's make them a little

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C. F. Payne: Taller you just slide it up and all of a sudden it becomes taller.

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Raymond Bonilla: Right. Right. And that's, like, that's so awesome, you know,

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Raymond Bonilla: I use Photoshop, very much like that. But I like you know chasing paper. I still really like because it's it's just instant, you know,

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C. F. Payne: Photoshop before Photoshop right

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Absolutely.

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C. F. Payne: Hate man Photoshop.

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Raymond Bonilla: Well, you know, there was a

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Raymond Bonilla: There's a reason why it's been around for so long. Right. You know,

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Raymond Bonilla: Because if artists that figured out another way of working. That was better or more efficient than they would have picked that up.

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Raymond Bonilla: Totally so

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Raymond Bonilla: I can't

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John English: Wait, how many illustrations old illustrations of my father's that I found that were

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John English: glued down Tracy

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John English: Isn't he just he would put the

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John English: You know, he would just put his dry mouth, the drawing down, you know,

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Raymond Bonilla: Yeah.

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C. F. Payne: You know john you know back then, you know, baby debate, give it a little more, you know, you may have been using like a vellum that as a little bit

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John English: More right yeah

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C. F. Payne: Right. Right. Yeah.

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Right.

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Raymond Bonilla: Yeah, I remember Bill Mon and had all of his stuff done on door LA. And I was like, oh, man, what is that stuff, that stuff. It's like super thick and it's like see through. But it's got a tooth to it and then

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Raymond Bonilla: Is it there's there's one of them and you could like kind of hit with sandpaper to and I accept oil paints really nicely mylar that does that. There's like a

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Raymond Bonilla: Guy.

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Raymond Bonilla: Who is the illustrator. I don't know. And I asked this, the illustrator that had a work on like either mylar doula or some sort of

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Raymond Bonilla: vellum tracing paper but high quality and he would work with oils, you work back and front, he would work on the oils like oil washes on the back.

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Raymond Bonilla: And

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C. F. Payne: That's why I was was always to tracing paper. Yeah.

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Raymond Bonilla: Yeah, it was like this wild like because I Kranz on top on the front and

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Raymond Bonilla: It had this ominous look

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Bill Koeb: Do you know the artist bill shields.

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Bill Koeb: Sure. Okay. So, so

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Bill Koeb: I took classes with built the Academy of Art, years and years ago Bill would use.

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Bill Koeb: He'd started with oil pastels, or under on mylar and then he

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Bill Koeb: Going with mineral spirits, and then he going with paint, but he liked the Mylar because he could scrape he would use like straight edges and razor blades to scrape things off.

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Bill Koeb: Right and build them back up and

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Bill Koeb: I mean, he was very free and it could see how it translated into his larger paintings, too.

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Bill Koeb: But I just remember watching him do

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Bill Koeb: You know, many paintings like that but you know on the Mylar and

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Bill Koeb: That's awesome.

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Bill Koeb: It's pretty amazing.

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Bill Koeb: And he did a lot of them out of his head, too, because he would travel around once a year and go to France once a year, and

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Bill Koeb: Travel and you kind of built up this internal visual library.

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Bill Koeb: Right. Right. And

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Bill Koeb: Then he would just do these things out of his head.

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Raymond Bonilla: It's a

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Raymond Bonilla: Good work if you can get it right. It's like that, like, and yet it's it's nice. It's nice to have that like access to something like that.

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C. F. Payne: Well, and then that led to be able to pull things like that out of your head.

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Raymond Bonilla: Yeah.

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C. F. Payne: If it's been out of my head for more than 15 minutes it's usually gone

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C. F. Payne: Unless it's on 1000 times like a tree.

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Raymond Bonilla: Yeah.

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Raymond Bonilla: More so in that camp grace, if anything, I

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Raymond Bonilla: You know i i always I forget where I put my my spoon that I just picked out of my drawer. That was me, Syria, with, you know, like, you know, I was that so keeping visual information sometimes is a little difficult for me.

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C. F. Payne: I those guys that can pull that stuff off that's it's just remarkable to see

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Yeah.

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Raymond Bonilla: My good friend that Tyler Jacobson's like that.

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Raymond Bonilla: Really yeah he could just be it's just an incredible sense of

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Raymond Bonilla: Recollection

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Raymond Bonilla: He's just like, look. Yep. And it looks like this. And I'm like, wait, how did you pick. Yeah. I remember when we were down there and it looks like this. And it's and it's like, no, I don't remember at all. You know, I remember colors really well. I was seeing. But I can't remember.

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Raymond Bonilla: Shapes specifics, you know,

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C. F. Payne: I just try to remember where I put my beer.

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Raymond Bonilla: Yeah, see, that's, that's, I guess that's where all my new ruling priorities.

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Raymond Bonilla: Are yeah yeah

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Raymond Bonilla: Well, and then if you're doing that, then I should do that. And that's the secret to success.

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C. F. Payne: Not just, you know, I kind of, you know, I appreciate all that I really do. I respect that. Like, you can't believe but you know I just like to be able to say that's why they make reference

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C. F. Payne: Right, so I don't have to do

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Raymond Bonilla: Yeah yeah

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Raymond Bonilla: And plus it. It all depends on like what your goal is. Right. I mean, like, it's

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Raymond Bonilla: It all depends. And, and I really liked the reference process of collecting reference and building things and

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Raymond Bonilla: Graphic working models and

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Raymond Bonilla: So that's, that's a really, it really helps me think through things because I you know when when I get a model in or I'm looking at reference, it's, it's always better than

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Raymond Bonilla: It always enhances my sketch like and it always gives me a better idea. So I could refine my my sketch and big like oh maybe if I push it like this, you know,

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C. F. Payne: Well, I mean I you know john we were talking about not using reference for developing ideas and I agree with that, because I don't

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C. F. Payne: Totally something to

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C. F. Payne: I don't need more things to model in my thoughts were, like, he's a reference. So I'd rather just have nothing and try to use my own imagination and then later on, try to figure it out from there.

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Right.

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C. F. Payne: If I'm if I'm looking at a picture, all of a sudden it's starting to direct me from the get go, and

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C. F. Payne: I don't want to do that.

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Raymond Bonilla: Yeah, yeah, totally.

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Raymond Bonilla: Yeah, I was more. So talking about

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Raymond Bonilla: The inspiration part like

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Raymond Bonilla: Example, if I had a designer at if I had like do something with like a bridge or something like that. Like my what I remember from bridges is very little salt.

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Raymond Bonilla: Take a million. The grab a million photos of bridges and and do sketches of them. And then once I have like the basic shapes down, then I can

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Raymond Bonilla: Take it and then move my camera anywhere I want you know my sketch because like I said like you can really i mean that the records will sometimes hamper pampering if you're not careful.

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Bill Koeb: If you're a build models of things just to be able to figure out

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Bill Koeb: what they look like.

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Raymond Bonilla: Side. I didn't know what was

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Bill Koeb: Said he rebuilt built something to figure out

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Raymond Bonilla: Yeah yeah yeah I have. Yeah.

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Bill Koeb: Just, just to just do

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Raymond Bonilla: Is to get a light on it.

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Raymond Bonilla: Because I just can't think of. It's hard for me to think if about what it is, or like just conceptualize it

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Raymond Bonilla: I think that's like the biggest, biggest issue.

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Raymond Bonilla: Yeah, that I have. Yeah.

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Raymond Bonilla: That's the norm. Yeah, I heard, I heard about that, like that idea. When I first ran across that when I saw a

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Raymond Bonilla: A documentary on Thomas Hart Benton

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Raymond Bonilla: Yeah, and I didn't realize that he had done all of that stuff. And then I

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Raymond Bonilla: You know, of course, I then ran across other illustrators had done in like James Kearney and of course

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John English: Parish Maxwell.

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Raymond Bonilla: Maxfield Parrish. Yeah. Mr.

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C. F. Payne: URL. You ever see that those Charles night my cats are those little sculptures of Charles nights.

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Raymond Bonilla: No.

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Raymond Bonilla: I haven't

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C. F. Payne: Yeah, you can you look it up, you know, he's got like one he did have a to philosopher rappers and battle and

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Raymond Bonilla: Oh, wow.

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C. F. Payne: That's cool. You know that that's like 1898 is when he's doing that.

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Case.

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Raymond Bonilla: It's so awesome.

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Raymond Bonilla: I saw, I saw wax models for

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Raymond Bonilla: That and it says on the made for is that the French academic painter who did the it was like a gigantic battle with horses in the met with the Napoleon. I don't know.

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Raymond Bonilla: I ever seen that and

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Raymond Bonilla: It was yet. That was incredible. And then, of course,

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Raymond Bonilla: Thomas black shirt, you know,

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Raymond Bonilla: King Kong. Yeah, we saw

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John English: I saw that thing physically

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Raymond Bonilla: Yeah, which is i'm i'm a little upset that you didn't like, you know, try and swap swap it out for like, I don't know, some, something that you got the dime store or something like that display. You can get it.

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Raymond Bonilla: Now I said that

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John English: The only time I saw, I didn't see it when I was doing that.

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John English: Maybe I did. I can't remember, but when I was doing that demo with them the lecture, I remember seeing it when you first did it.

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John English: He was

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John English: He was interning with my dad before that and I you know I saw him quite frequently. And that's, I just looked at that. I was like, this guy's on another planet.

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John English: Working on another level.

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Yeah.

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Bill Koeb: I went to super helpful guys and did some incredible sculptures.

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Bill Koeb: You know they were they were started out as painters and they started doing sculpture to

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Bill Koeb: inform their painting, but then they just kind of took off and

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Bill Koeb: Wow, cool. I can't. I wish I could. There was one guy that was just

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Bill Koeb: He was so amazing and

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Raymond Bonilla: Did you do you go to school. Mark Newman, by any chance,

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Bill Koeb: With who

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Raymond Bonilla: Mark Newman.

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Yeah.

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Raymond Bonilla: Yeah, he's he's he's incredible

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Bill Koeb: That might be who I'm thinking of

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Bill Koeb: Being was is he about how old is he

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Um,

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Raymond Bonilla: I don't know, he might be, it's probably, in his 40s.

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John English: Okay, he's old

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Bill Koeb: No Mark numinous if it's so I'm thinking he's got to be older than that.

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Raymond Bonilla: Okay, he's probably is that he's the one that he ended up sculpting a bunch of stuff for Thomas. He was like, he became once Thomas got busy.

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Raymond Bonilla: Right. The other divisions. He ended up becoming the principal sculptor so that Thomas can get my designs.

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Raymond Bonilla: But he had he had done the spectrum metal. And one of the awards, like with them crazy like mermaid sank and he still lived in the Bay Area, I think.

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Bill Koeb: It might be the guy because I remember going to a party with a friend of mine, Paul mica and

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Bill Koeb: There were a bunch of like really talented artists that were a couple years ahead of me, or a year ahead of me.

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Bill Koeb: Yeah, and he might have been. It might have been, Mark. I don't know.

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Raymond Bonilla: That's awesome.

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Raymond Bonilla: I'm gonna how much time I got left john

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John English: I wish you would do that to me.

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John English: I gotta clean my hands off check

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Raymond Bonilla: Slowing down, Chris. That's how we slow them down.

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John English: Two and a half minutes. No more if you need it.

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Raymond Bonilla: Because I'm yeah i think i think i'll take a few more. He came

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Don Kilpatrick III: That's how you get Johnny minutes

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Bill Koeb: Areas done a minute.

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John English: I know the voice.

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Raymond Bonilla: Sounds working man and

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Dale Stephanos: I want credit when you when you say Johnny minutes

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Bill Koeb: Do I have to pay you every time.

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C. F. Payne: And the place is getting crowded.

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Raymond Bonilla: Now, I know.

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Dale Stephanos: Damn. Another refresh it up.

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Don Kilpatrick III: I'll do that.

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Raymond Bonilla: Yeah, left one text message a playful one saying, you know, I can't be there. Give me a hard time

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Raymond Bonilla: And that

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Raymond Bonilla: Opened the crazy. I mean, we're talking to Nami level category 77 level tsunami tidal wave of of insolence for like

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Dale Stephanos: You know you're loved

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Bill Koeb: And this

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Raymond Bonilla: Yeah, it was.

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Raymond Bonilla: It was crazy. Well, Bill, you were in one of them.

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And then

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Raymond Bonilla: And then john when the last time when I was here was probably last week john said that there was a bunch of unused material that he had had from last week. So he thought he'd get it out this week. So then I got round to it. I got the leftovers and

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Tim Trabon: He goes, it doesn't look good when

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Bill Koeb: They're leftover insults.

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Tim Trabon: When they're

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Bill Koeb: Really sad.

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Tim Trabon: When there are more people on the panel there in the audience.

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Tim Trabon: Just kidding.

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I'm just

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Raymond Bonilla: Like the title fight right they would just wait for the big guys to start. Dr.

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Tim Trabon: Waiting for the heavyweights yeah

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Tim Trabon: This is like a like a 90s rap album, just like everyone's on it.

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Raymond Bonilla: With their hands.

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Dale Stephanos: Because there's nothing else happening tonight.

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Tim Trabon: No, no.

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In fact,

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Tim Trabon: If you really wanted to see a mess. You should have gotten to the YouTube stream early

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Raymond Bonilla: That

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Tim Trabon: That would compete with the debate.

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C. F. Payne: Series going on.

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Raymond Bonilla: Yeah. Oh, there is a World Series going on. Oh my god.

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Dale Stephanos: I'm boycotting

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C. F. Payne: Tampa.

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Dale Stephanos: I agree I we lost Mookie Betts to to the

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Dale Stephanos: To the Dodgers so

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Dale Stephanos: I love him so much that I just can't watch

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C. F. Payne: Well, but the thing that's great is is when you found it. What is that guy, you know, the guy who the Yankees took from the Astros became their patriots. Like, I think the Tampa Bay Buccaneers entire payroll is less than that guys yeah and and and here they are in the World Series.

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C. F. Payne: You know,

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Dale Stephanos: See, we always laugh.

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Dale Stephanos: About about Tampa Bay because they were perfectly positioned for this, this whole coded thing because nobody showed up that their games. Anyway, and the only people that really did were Red Sox fans because they're, they're all down there retired so

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C. F. Payne: Well, I just, it's just, you know, to see

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C. F. Payne: The small market team that. Well, the thing is what's so crazy about these teams. It's a small market team, even the owners of small market teams are billionaires.

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Raymond Bonilla: That's what it's all about.

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C. F. Payne: Money, they can

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C. F. Payne: But

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Bill Koeb: I'm just good Dale.

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C. F. Payne: It's just so fun to watch these these young kids for for Tampa. I mean there's just so much energy and

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Dale Stephanos: It is nice to see those little guy kind of fighting it out there. I don't know. I don't know how it's going to like, I think.

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Dale Stephanos: I think the Dodgers going to take it, but it would be nice to see an upset there.

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Bill Koeb: Who's playing the Dodgers I this is how much I pay attention to baseball

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C. F. Payne: Simon devil backs.

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Bill Koeb: Why

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C. F. Payne: I'm just kidding.

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Raymond Bonilla: This the bangles

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Dale Stephanos: Grace sucks.

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Bill Koeb: I don't watch baseball anymore. I just watch baseball movies.

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Raymond Bonilla: Yeah.

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Tim Trabon: Moneyball

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Bill Koeb: I watch Moneyball again the other day.

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Raymond Bonilla: Okay Moneyball are

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Raymond Bonilla: Four major league. I mean, you know,

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Raymond Bonilla: I think the major leaders simple do

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Tim Trabon: Both. Both are really like deep think films.

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Right.

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C. F. Payne: Look, if you guys want to go to YouTube and you can watch the

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C. F. Payne: World Series.

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C. F. Payne: The entire broadcast. So you're there watching Jackie Robinson play Mickey Mantle Pee Wee Reese, and it's just you know it's and it's not like highlights. It's the broadcast exactly as they, as you know, the people saw it back then, and it's great.

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Don Kilpatrick III: That's good.

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John English: To me, I was about to ask who brought up baseball. But then I remembered it was Chris

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Tim Trabon: Yeah, you know, earlier.

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Tim Trabon: Earlier, when I was joking it about having more attendee

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Tim Trabon: headboard panelists and attendees.

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Tim Trabon: Know, um, yeah. It seems like these are our, our true followers. We're going to do something special for the attendees that come tonight.

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Tim Trabon: skipping out on the World Series and the world.

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Bill Koeb: The world debate.

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Tim Trabon: The world debate that

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Raymond Bonilla: The World Series in

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Tim Trabon: The world series of debates.

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Dale Stephanos: It's more like this is the Wrestling that's smack tone is, I would say.

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Tim Trabon: Yeah, it's more of a situation.

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Raymond Bonilla: Well, it's an honor to honor it. And as President, everyone. We're going to reenact the entire movie of Major League.

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C. F. Payne: Yeah, just a little

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Bill Koeb: Just a little majorly

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Bill Koeb: Bob You there, Tom Berenger in it.

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Raymond Bonilla: Yeah yeah

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Bill Koeb: Yeah, and Charlie Sheen.

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Dale Stephanos: Yep, yep.

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C. F. Payne: Yeah, you are.

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Raymond Bonilla: Just wanting to

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Raymond Bonilla: The greatest the greatest baseball movie average. There you go.

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John English: Oh, come on.

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No.

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Tim Trabon: John you probably feel the dreams guy.

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Bill Koeb: Yeah, well, what about

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Raymond Bonilla: This is not really a bit. They happen to pick baseball

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John English: It's, it's another Kevin Costner movie, but not feel the

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Dreams.

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John English: Okay.

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Older

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John English: Older

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Bill Koeb: Older. It's a great movie.

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Yeah.

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Raymond Bonilla: What about Missy 3000 3000 with

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C. F. Payne: Mr 3000s the one with Bernie Mac. Yeah.

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Raymond Bonilla: Now that

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Tim Trabon: You guys are trying to think of angels in the outfield

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Tim Trabon: Now there's a great

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C. F. Payne: First one.

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Tim Trabon: I did not know there was a sequel.

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C. F. Payne: One was made in the 1940s.

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Tim Trabon: Yeah, I guess.

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Tim Trabon: I guess. Somehow, I didn't have time to watch that one, Chris.

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John English: Call to me.

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Yeah.

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Bill Koeb: No VCR.

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Tim Trabon: I do highly recommend

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Tim Trabon: Highly recommend watching the spoof 3430 on the angels in the outfield season.

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Raymond Bonilla: They have 3430

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Tim Trabon: And it is so well done. And they're like, there were 35 errors in one play

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Tim Trabon: It's a really great. They do it and they got a lot of big names to participate in it so

398
00:31:22.230 --> 00:31:23.970
Raymond Bonilla: Yeah, did Danny Glover come back.

399
00:31:24.480 --> 00:31:33.390
Tim Trabon: I think Danny Glover is interviewed in it because the whole, the whole thing is they're just like, why was that guy. Why did he do that.

400
00:31:36.540 --> 00:31:37.080
Tim Trabon: Like when

401
00:31:41.010 --> 00:31:44.400
C. F. Payne: The original on eBay, it was worth it because Janet Lee's in it and

402
00:31:47.370 --> 00:31:48.030
C. F. Payne: That's worth it.

403
00:31:48.540 --> 00:31:51.330
Raymond Bonilla: Yeah, but it was Tony Danza in it original one.

404
00:31:51.840 --> 00:31:52.140
C. F. Payne: Well,

405
00:31:52.200 --> 00:31:55.860
C. F. Payne: You did Tony Danza. Go for it. I'll take Janet Leigh

406
00:31:56.400 --> 00:31:57.630
Bill Koeb: Yeah, I'll take Janet Leigh

407
00:31:58.830 --> 00:32:00.180
Have to put my other camera.

408
00:32:02.580 --> 00:32:03.990
Bill Koeb: Or the original Houdini

409
00:32:04.860 --> 00:32:05.460
C. F. Payne: Oh, yeah.

410
00:32:08.880 --> 00:32:09.870
Raymond Bonilla: What about the rookie

411
00:32:12.090 --> 00:32:13.170
Raymond Bonilla: Anybody remember that one.

412
00:32:14.310 --> 00:32:14.700
Raymond Bonilla: That's

413
00:32:14.940 --> 00:32:17.700
C. F. Payne: True story at the Tampa Bay picture with Dennis Quaid

414
00:32:18.060 --> 00:32:20.790
Tim Trabon: Yeah Ramin the true story of the

415
00:32:21.180 --> 00:32:23.670
Tim Trabon: 15 year old, he broke his arm and became a

416
00:32:24.090 --> 00:32:25.380
Tim Trabon: True Story world famous

417
00:32:25.410 --> 00:32:26.550
Tim Trabon: World famous writer.

418
00:32:26.790 --> 00:32:27.690
Bill Koeb: Rookie of the Year.

419
00:32:28.020 --> 00:32:28.800
Tim Trabon: Rookie of the Year.

420
00:32:29.430 --> 00:32:30.930
Raymond Bonilla: Oh yeah, right. The Rookie of the Year.

421
00:32:31.860 --> 00:32:35.160
C. F. Payne: The one with the one but Dennis Quaid is where he

422
00:32:36.000 --> 00:32:36.570
John English: That's a decent

423
00:32:36.600 --> 00:32:37.410
C. F. Payne: About a guy who was

424
00:32:37.740 --> 00:32:43.170
C. F. Payne: teaching high school in Texas and comes back and pitches in the major leagues.

425
00:32:44.190 --> 00:32:45.510
Tim Trabon: Somebody says, what's the one with

426
00:32:45.510 --> 00:32:48.090
Tim Trabon: Joey from friends in the chimpanzee.

427
00:32:51.000 --> 00:32:51.870
C. F. Payne: That's a good one.

428
00:32:52.590 --> 00:32:57.330
Bill Koeb: That's a, that's a that's like Michael Moriarity best role.

429
00:32:57.960 --> 00:33:01.560
C. F. Payne: That Danny Aiello got that was one of those early roles.

430
00:33:02.160 --> 00:33:03.390
Bill Koeb: That's such a good movie.

431
00:33:03.900 --> 00:33:06.870
C. F. Payne: Then and Robert De Niro. Yeah.

432
00:33:09.990 --> 00:33:12.600
Raymond Bonilla: So you're welcome all of our, our loyal loud.

433
00:33:13.590 --> 00:33:14.220
C. F. Payne: We also get

434
00:33:15.270 --> 00:33:16.740
C. F. Payne: There, you get a little movie history.

435
00:33:17.280 --> 00:33:17.700
See

436
00:33:20.520 --> 00:33:25.350
Raymond Bonilla: You can you go to YouTube and watch it 30s World Series or you gonna read botched

437
00:33:25.470 --> 00:33:26.640
Not fired and

438
00:33:27.750 --> 00:33:28.290
Raymond Bonilla: And

439
00:33:31.860 --> 00:33:37.140
Raymond Bonilla: And and rent you know Rookie of the Year Bull Durham for 75 cents.

440
00:33:38.220 --> 00:33:40.530
Don Kilpatrick III: You know none of you have brought a League of their Own

441
00:33:41.910 --> 00:33:42.660
Raymond Bonilla: Well, that's like

442
00:33:42.780 --> 00:33:46.620
Raymond Bonilla: Problem. That's great. The greatest one. I mean, we're all like, I mean,

443
00:33:47.820 --> 00:33:52.410
Bill Koeb: I like Terry brown without long slow kisses that last for days.

444
00:33:52.440 --> 00:33:53.190
Don Kilpatrick III: That's done

445
00:33:53.370 --> 00:33:54.750
Bill Koeb: Susan Sarandon in

446
00:33:56.130 --> 00:33:56.610
Bill Koeb: Boulder.

447
00:33:58.080 --> 00:33:58.770
Bill Koeb: I mean,

448
00:34:00.720 --> 00:34:03.900
Raymond Bonilla: Susan. I mean, League of their Own is objectively way better than boulder.

449
00:34:04.710 --> 00:34:05.580
Bill Koeb: What's that

450
00:34:11.940 --> 00:34:13.140
Bill Koeb: Nothing better

451
00:34:13.200 --> 00:34:17.280
Bill Koeb: Than one Tim Robbins missing the lyrics to the songs

452
00:34:18.360 --> 00:34:20.340
Bill Koeb: Women get really yeah

453
00:34:24.720 --> 00:34:25.620
John English: That is a good movie.

454
00:34:26.190 --> 00:34:32.010
Bill Koeb: Okay, I thought. Damn Yankees as a play with Jerry Lewis. Somebody mentioned Damn Yankees.

455
00:34:34.770 --> 00:34:38.250
Bill Koeb: Oh god, League of their Own yeah no crying and illustration

456
00:34:42.810 --> 00:34:44.760
Raymond Bonilla: Yeah, nobody mentioned a League of their Own actually

457
00:34:46.080 --> 00:34:46.350
Don Kilpatrick III: I

458
00:34:46.470 --> 00:34:47.610
Raymond Bonilla: Think I did. I did.

459
00:34:47.760 --> 00:34:48.150
Oh, yeah.

460
00:34:51.720 --> 00:34:52.710
Don Kilpatrick III: Oh, man.

461
00:34:53.670 --> 00:34:54.150
Raymond Bonilla: I don't think they're

462
00:34:55.050 --> 00:34:56.970
John English: Done. And when I think of baseball movies.

463
00:35:02.160 --> 00:35:03.090
Raymond Bonilla: That was a great movie.

464
00:35:03.360 --> 00:35:04.290
Bill Koeb: That was a great movie.

465
00:35:05.820 --> 00:35:08.070
John English: Tom Hanks was terrific. Yeah.

466
00:35:09.210 --> 00:35:09.990
As always,

467
00:35:11.310 --> 00:35:12.480
John English: He wasn't even deserted.

468
00:35:15.420 --> 00:35:16.410
Raymond Bonilla: Spoiler alert.

469
00:35:19.710 --> 00:35:21.630
Raymond Bonilla: All right. JOHN I think I am done.

470
00:35:21.870 --> 00:35:22.320
John English: All right, yeah.

471
00:35:24.030 --> 00:35:25.860
Dale Stephanos: I think I'm done. That's great.

472
00:35:25.980 --> 00:35:27.780
Bill Koeb: Okay, that's cool, man.

473
00:35:28.050 --> 00:35:28.530
Bill Koeb: Yeah.

474
00:35:28.710 --> 00:35:29.700
Those colors.

475
00:35:30.720 --> 00:35:35.070
Raymond Bonilla: Yeah, I'm trying to different color scheme for every, every one. So I've got my notes setup.

476
00:35:35.670 --> 00:35:37.260
Bill Koeb: I like how you flipped it to

477
00:35:38.940 --> 00:35:41.250
Raymond Bonilla: Oh yeah, you're not even as I did that. Yeah.

478
00:35:42.000 --> 00:35:43.980
Bill Koeb: Well, you know, the funny thing about that is I

479
00:35:44.070 --> 00:35:46.110
Raymond Bonilla: Mean it was totally on on purpose.

480
00:35:46.440 --> 00:35:54.210
Bill Koeb: The way you flipped it though. It changes the whole meaning of the thing because it looks like he's looking back

481
00:35:55.530 --> 00:35:56.490
Bill Koeb: Behind him.

482
00:35:57.900 --> 00:35:58.800
Raymond Bonilla: Yeah yeah yeah

483
00:35:58.920 --> 00:36:02.310
Bill Koeb: So looking kind of a head. Oh. JOHN. Oh, that's great.

484
00:36:02.790 --> 00:36:03.600
That was great.

485
00:36:05.820 --> 00:36:08.160
Dale Stephanos: Ray I looked, I looked away, and it was hurting

486
00:36:10.050 --> 00:36:11.130
Dale Stephanos: Did you do that with a

487
00:36:13.320 --> 00:36:14.790
Dale Stephanos: transparent layer or

488
00:36:15.390 --> 00:36:16.110
Raymond Bonilla: Did you actually

489
00:36:16.770 --> 00:36:17.340
Oh, that's awesome.

490
00:36:19.020 --> 00:36:19.320
Yeah.

491
00:36:21.300 --> 00:36:26.910
Raymond Bonilla: That's awesome. Chris is actually a tracing paper technique. Dr. Chris told me so it's a secret.

492
00:36:29.130 --> 00:36:30.030
Hey john. Do you remember

493
00:36:31.530 --> 00:36:36.450
Bill Koeb: Do you remember the illustrator john that primarily use line and just a little bit of tone in his work.

494
00:36:37.500 --> 00:36:38.550
John English: Like put which one

495
00:36:38.910 --> 00:36:39.720
TV.

496
00:36:41.460 --> 00:36:42.930
Bill Koeb: I know, I know I'm

497
00:36:42.930 --> 00:36:44.160
Bill Koeb: Sorry, like

498
00:36:45.540 --> 00:36:46.710
Bill Koeb: 70s, 80s.

499
00:36:49.020 --> 00:36:50.880
Bill Koeb: Was a really beautiful line.

500
00:36:52.680 --> 00:36:53.040
Don Kilpatrick III: I'm

501
00:36:54.090 --> 00:36:55.830
Bill Koeb: Gonna look them up in a piece reminds me that

502
00:36:56.340 --> 00:36:57.090
Dale Stephanos: They use color.

503
00:36:57.960 --> 00:36:58.920
Bill Koeb: I think so.

504
00:37:00.030 --> 00:37:00.870
Dale Stephanos: I can't you know

505
00:37:01.440 --> 00:37:02.520
Dale Stephanos: Getting bigger and bigger.

506
00:37:03.090 --> 00:37:03.660
Bill Koeb: Oh, great.

507
00:37:04.380 --> 00:37:09.930
Raymond Bonilla: So Dale, this is the this is the layer before the before and after the game, he could see that.

508
00:37:13.110 --> 00:37:16.350
Dale Stephanos: I'll put. Can you put your right back up. I can see he's talking about

509
00:37:18.600 --> 00:37:20.340
Raymond Bonilla: So this is a

510
00:37:27.570 --> 00:37:33.090
Raymond Bonilla: Oh, yeah. So then I got like that was the green and and that was a pain over

511
00:37:33.360 --> 00:37:35.280
Oh cool, that's cool.

512
00:37:37.980 --> 00:37:38.850
Dale Stephanos: Yeah, really nice.

513
00:37:39.990 --> 00:37:41.640
Dale Stephanos: I think he's starting to get the hang of it. Right.

514
00:37:43.350 --> 00:37:44.310
Raymond Bonilla: Maybe, I don't know.

515
00:37:45.030 --> 00:37:47.310
John English: He's watching too much whole recently, though.

516
00:37:47.400 --> 00:37:50.040
Raymond Bonilla: Yeah. Why is it turns out it's true.

517
00:37:50.970 --> 00:37:52.560
Bill Koeb: Don't get his drawing angry.

518
00:37:52.950 --> 00:37:53.370
Dale Stephanos: Oh, that's

519
00:37:55.530 --> 00:37:56.790
Dale Stephanos: Done. That's awesome.

520
00:37:58.170 --> 00:37:58.620
C. F. Payne: Yeah.

521
00:37:59.520 --> 00:38:05.880
Don Kilpatrick III: Thanks. Yeah, I just thought I'd work appropriate tonight, trying to keep up.

522
00:38:07.980 --> 00:38:09.450
Raymond Bonilla: Should delete that done. That's not good.

523
00:38:10.170 --> 00:38:12.420
Raymond Bonilla: Yeah Chris and I talked it over.

524
00:38:15.600 --> 00:38:16.290
Okay.

525
00:38:19.890 --> 00:38:20.700
C. F. Payne: Yeah alright so

526
00:38:21.150 --> 00:38:22.140
John English: See Fox.

527
00:38:22.440 --> 00:38:23.280
C. F. Payne: Yes, sir.

528
00:38:25.290 --> 00:38:26.580
Raymond Bonilla: Doing the basketball.

529
00:38:26.760 --> 00:38:28.050
John English: See Fox grow.

530
00:38:31.290 --> 00:38:33.330
C. F. Payne: Let's see here. I am drawing

531
00:38:36.660 --> 00:38:37.800
Raymond Bonilla: The reverse dunk.

532
00:38:39.030 --> 00:38:39.960
C. F. Payne: This fella.

533
00:38:44.610 --> 00:38:48.180
C. F. Payne: So it's gonna be a fun challenge. I like these.

534
00:38:57.000 --> 00:38:58.680
Dale Stephanos: Is that the one with the color in the back there.

535
00:38:59.340 --> 00:39:00.840
C. F. Payne: It's got the basketball.

536
00:39:01.410 --> 00:39:02.160
Dale Stephanos: Okay, okay.

537
00:39:04.740 --> 00:39:05.400
Dale Stephanos: Oh, that's awesome.

538
00:39:06.780 --> 00:39:10.380
Dale Stephanos: That reminds me of your, your Jesse Owens, Chris. So you're cheating.

539
00:39:10.980 --> 00:39:11.850
C. F. Payne: Oh, thank you.

540
00:39:13.320 --> 00:39:13.740
John English: Dale.

541
00:39:14.190 --> 00:39:15.690
John English: I really did it.

542
00:39:16.740 --> 00:39:17.940
Raymond Bonilla: At that Christmas student

543
00:39:18.750 --> 00:39:20.670
Dale Stephanos: Basically already drawn this picture so

544
00:39:23.580 --> 00:39:25.260
Raymond Bonilla: You have to do an entire oil washed.

545
00:39:30.810 --> 00:39:31.530
Dale Stephanos: Put the net. Remember

546
00:39:33.000 --> 00:39:34.260
C. F. Payne: Michael Jordan one

547
00:39:42.240 --> 00:39:43.680
What should we do here.

548
00:39:46.530 --> 00:39:47.370
We go.

549
00:40:05.280 --> 00:40:10.020
Raymond Bonilla: The last time I had somebody last week who don't fit the pose with that.

550
00:40:11.130 --> 00:40:16.080
Raymond Bonilla: Figure in the basketball I crashed and burned so I got with myself this time.

551
00:40:19.980 --> 00:40:20.310
Don Kilpatrick III: I should

552
00:40:23.160 --> 00:40:24.180
Raymond Bonilla: Remember that one done

553
00:40:25.230 --> 00:40:27.270
Don Kilpatrick III: Oh yeah I crashed and burned on that one to me.

554
00:40:32.790 --> 00:40:34.680
John English: Which time do you crash and burn.

555
00:40:36.270 --> 00:40:36.690
Raymond Bonilla: Yeah.

556
00:40:37.110 --> 00:40:38.730
Raymond Bonilla: I knew as soon as I said it.

557
00:40:39.660 --> 00:40:40.590
Don Kilpatrick III: Or was it

558
00:40:47.250 --> 00:40:49.200
Raymond Bonilla: Made it way too easy for john

559
00:40:49.920 --> 00:40:51.870
Dale Stephanos: Ray down in flames for Nia

560
00:40:52.290 --> 00:40:52.530
Yeah.

561
00:40:54.690 --> 00:40:58.860
Raymond Bonilla: I will give credit, though he did pause to allow other

562
00:40:59.280 --> 00:40:59.670
John English: The I

563
00:41:00.030 --> 00:41:01.890
John English: Waited I held for as long as I

564
00:41:03.540 --> 00:41:06.870
Bill Koeb: Don't just slips those things in really quietly.

565
00:41:08.580 --> 00:41:08.880
Bill Koeb: And

566
00:41:10.230 --> 00:41:11.910
Bill Koeb: Realize you're being insulted.

567
00:41:12.060 --> 00:41:14.040
C. F. Payne: Be the ultimate straight man.

568
00:41:14.460 --> 00:41:14.880
Right.

569
00:41:33.300 --> 00:41:40.350
Raymond Bonilla: I've always wanted to do, like those this these sports photos, remind me of like the great

570
00:41:41.940 --> 00:41:46.590
Raymond Bonilla: Post the US Olympics like postage stamps and Mike that Bart Forbes and

571
00:41:48.480 --> 00:41:52.680
Raymond Bonilla: Like that a birdie fields did like I have that hope book on them. And they were just like,

572
00:41:54.390 --> 00:41:55.200
Raymond Bonilla: Incredible.

573
00:41:57.180 --> 00:41:57.870
John English: They were okay

574
00:41:59.010 --> 00:41:59.760
John English: To say the least.

575
00:42:00.210 --> 00:42:01.650
Don Kilpatrick III: Yeah, good.

576
00:42:02.310 --> 00:42:04.350
Raymond Bonilla: Solid B minus work but you know

577
00:42:05.490 --> 00:42:06.180
Raymond Bonilla: My, my last

578
00:42:07.110 --> 00:42:08.850
John English: Some of their best stuff was good.

579
00:42:09.180 --> 00:42:09.780
But yeah

580
00:42:14.310 --> 00:42:14.700
Raymond Bonilla: Good.

581
00:42:19.050 --> 00:42:23.340
John English: Parts still doing it is man his landscape stuff that he's doing right

582
00:42:23.370 --> 00:42:24.840
Raymond Bonilla: Oh, man. Yeah.

583
00:42:25.950 --> 00:42:26.940
John English: You talk about

584
00:42:28.170 --> 00:42:29.970
John English: Shape design and

585
00:42:31.020 --> 00:42:32.430
John English: Interpretation of

586
00:42:33.510 --> 00:42:35.700
John English: Reality. That's absolutely stunning

587
00:42:38.160 --> 00:42:39.540
Dale Stephanos: I wish there was a place to see it.

588
00:42:41.190 --> 00:42:44.550
C. F. Payne: He posted every now and then on Instagram or Facebook.

589
00:42:46.050 --> 00:42:48.000
John English: So you have a here's a website.

590
00:42:48.360 --> 00:42:48.720
C. F. Payne: Yeah.

591
00:42:49.590 --> 00:42:50.700
John English: go to his website.

592
00:42:50.910 --> 00:42:53.280
Dale Stephanos: That's so old school and that wasn't it going to websites.

593
00:42:54.090 --> 00:42:57.120
Raymond Bonilla: I'm sorry john who goes to websites anymore.

594
00:42:58.500 --> 00:42:59.520
John English: People like me.

595
00:42:59.880 --> 00:43:01.230
Dale Stephanos: It's like answering your phone.

596
00:43:05.820 --> 00:43:07.950
Raymond Bonilla: Yeah, everybody's back on fax machines john

597
00:43:09.150 --> 00:43:09.420
Bill Koeb: It's

598
00:43:11.370 --> 00:43:12.120
John English: Back to normal.

599
00:43:15.000 --> 00:43:16.290
Bill Koeb: He waited long enough and things

600
00:43:16.800 --> 00:43:17.160
Around the

601
00:43:18.510 --> 00:43:18.930
John English: World.

602
00:43:24.120 --> 00:43:26.130
John English: That was true, we could get Gary in here.

603
00:43:26.520 --> 00:43:30.330
Raymond Bonilla: Yeah I know, right. It's like a three strikes coming in. Hold on.

604
00:43:39.600 --> 00:43:41.610
Bill Koeb: On out from the archives lately and

605
00:43:41.850 --> 00:43:54.000
John English: His daughter's been doing that forum Sydney I I seriously thinking about going up to either Thursday and doing this from his studio that would be killer.

606
00:43:55.770 --> 00:43:57.270
Bill Koeb: How far is it for that for you.

607
00:43:57.540 --> 00:43:58.770
John English: It's a five hour drive

608
00:43:59.490 --> 00:44:00.240
Bill Koeb: No bed.

609
00:44:01.860 --> 00:44:08.010
John English: Now it's only five hours to Gary Kelly. That's the way I look at it, yeah. The payoff is unbelievable.

610
00:44:08.970 --> 00:44:09.360
Right.

611
00:44:15.750 --> 00:44:19.260
John English: I've talked to him about it already doing something that way.

612
00:44:23.280 --> 00:44:23.850
Raymond Bonilla: Receive it.

613
00:44:24.960 --> 00:44:26.310
John English: No, he's up for. Yeah.

614
00:44:26.490 --> 00:44:31.950
John English: Oh, that's all right. He wasn't. I haven't thrown this part out of I just talked about him doing a demo.

615
00:44:33.540 --> 00:44:34.980
John English: A talk and a demo for us.

616
00:44:36.210 --> 00:44:39.780
Raymond Bonilla: Isn't just show up with it with the web camera and every computer and everything.

617
00:44:41.130 --> 00:44:43.620
John English: Yeah, you'd be all right with it. Yeah.

618
00:44:44.910 --> 00:44:47.490
John English: He shy away from very little.

619
00:44:49.680 --> 00:44:50.580
C. F. Payne: Just won't run it.

620
00:44:51.150 --> 00:44:51.570
It's right

621
00:44:57.480 --> 00:45:01.470
Raymond Bonilla: I was still, I was told from another illustrated that

622
00:45:03.960 --> 00:45:10.140
Raymond Bonilla: Email was a was something that Gary was still uncertain about adopting

623
00:45:11.790 --> 00:45:13.110
John English: You if you want to get ahold

624
00:45:13.230 --> 00:45:13.590
Of

625
00:45:14.670 --> 00:45:16.620
John English: Him by email, you got an email, his wife.

626
00:45:17.070 --> 00:45:17.550
Right.

627
00:45:21.840 --> 00:45:24.060
John English: I almost said her email when I'm glad I didn't

628
00:45:26.520 --> 00:45:28.200
John English: That wouldn't have been very trying to Gary

629
00:45:30.210 --> 00:45:33.750
Bill Koeb: Episode 30 where john gives up Gary Kelly's email.

630
00:45:33.990 --> 00:45:34.560
Yeah.

631
00:45:39.090 --> 00:45:41.310
John English: That was the end of illustration isolation.

632
00:45:42.270 --> 00:45:44.580
Bill Koeb: Don was never seen or heard from again.

633
00:45:47.070 --> 00:45:48.690
Bill Koeb: Why don't you come up to Iowa.

634
00:45:49.650 --> 00:45:50.490
Don Kilpatrick III: It was an excellent

635
00:45:56.640 --> 00:45:58.410
C. F. Payne: You have what chippers. They're dumping.

636
00:46:01.710 --> 00:46:09.660
John English: Yeah, well, you don't have to worry about the wood chipper he just go up there right now because half the people and I will have Kobe oh 50 over 50%

637
00:46:10.050 --> 00:46:10.860
Bill Koeb: Oh my god.

638
00:46:11.010 --> 00:46:11.550
Raymond Bonilla: Is that are

639
00:46:12.060 --> 00:46:12.960
Dale Stephanos: They serious

640
00:46:13.200 --> 00:46:14.940
Dale Stephanos: I'm very serious. Oh my god.

641
00:46:15.000 --> 00:46:16.710
John English: Highest in our country right now.

642
00:46:16.920 --> 00:46:17.910
Bill Koeb: That's scary.

643
00:46:18.030 --> 00:46:21.630
John English: Oh man, Kansas. We were at 21%

644
00:46:23.160 --> 00:46:23.460
So,

645
00:46:25.140 --> 00:46:26.850
John English: Scary. Yeah.

646
00:46:29.550 --> 00:46:31.710
John English: 50. I mean, just think about that is like

647
00:46:32.880 --> 00:46:33.840
A lot of people

648
00:46:35.820 --> 00:46:37.530
Bill Koeb: Maybe you shouldn't drive up there.

649
00:46:38.040 --> 00:46:44.400
C. F. Payne: Yeah what what JOHN What percentage of them are a symptomatic. Do they know

650
00:46:45.420 --> 00:46:47.610
John English: I didn't listen to that. I don't know.

651
00:46:48.870 --> 00:46:50.490
C. F. Payne: Does that does make a big difference.

652
00:46:50.730 --> 00:46:51.390
John English: Oh, I'm sure.

653
00:46:54.000 --> 00:46:56.310
John English: But as far as it spreading it doesn't

654
00:46:59.520 --> 00:47:03.540
John English: Spreads. The same with if you know about it or no.

655
00:47:04.770 --> 00:47:14.880
C. F. Payne: Yeah. But what I mean is, you know, when you test it again. The old adage is, you know, you go outside when it's drizzling you're gonna test wet.

656
00:47:17.940 --> 00:47:18.390
Tim Trabon: I don't know.

657
00:47:18.690 --> 00:47:19.920
Tim Trabon: But he understood that, but

658
00:47:23.250 --> 00:47:23.820
Tim Trabon: I

659
00:47:23.940 --> 00:47:25.170
Tim Trabon: I'm, I'm gonna

660
00:47:27.000 --> 00:47:40.710
Tim Trabon: I'm just thinking of, you know, because I know that everybody probably is pretty burnt out on that conversation, but I am excited that visual we're working on a illustration isolation.

661
00:47:42.780 --> 00:47:44.280
Tim Trabon: Not cure, but we do

662
00:47:44.280 --> 00:47:45.420
John English: Think, we'll be able to

663
00:47:45.510 --> 00:47:51.120
Tim Trabon: cook up something with Chris and a vaccine, probably by next year.

664
00:47:53.460 --> 00:47:58.080
Raymond Bonilla: We're almost Bar. Bar Gary's factors in the facts over the specific

665
00:47:58.110 --> 00:48:02.550
Tim Trabon: Yeah. Whoa. Whoa, good fact check with the recording.

666
00:48:04.380 --> 00:48:06.900
Tim Trabon: But if you're attending the live event. No fact checks tonight.

667
00:48:11.490 --> 00:48:11.880
Yeah.

668
00:48:13.950 --> 00:48:16.800
Raymond Bonilla: Well, I'll tell you, I wish Gary Keller was in my place at this point.

669
00:48:20.370 --> 00:48:21.390
Really why

670
00:48:25.140 --> 00:48:26.640
Raymond Bonilla: You're doing this pose.

671
00:48:27.150 --> 00:48:27.630
John English: Let's kind of

672
00:48:28.290 --> 00:48:29.190
Raymond Bonilla: Me drawing it.

673
00:48:33.450 --> 00:48:36.930
Tim Trabon: I don't know what what what artists would you prefer to be quarantined with right

674
00:48:42.750 --> 00:48:43.770
Raymond Bonilla: Korean teammate quite

675
00:48:43.770 --> 00:48:46.440
Tim Trabon: How about how about quarantine artists in quarantine book.

676
00:48:48.960 --> 00:48:50.520
Raymond Bonilla: Anyone from history, though.

677
00:48:50.760 --> 00:48:52.740
John English: Yeah, if you had one disease.

678
00:49:01.020 --> 00:49:01.560
Tim Trabon: Yeah.

679
00:49:02.220 --> 00:49:03.150
John English: Do you want that to be

680
00:49:16.650 --> 00:49:17.610
John English: Hope it. Sorry.

681
00:49:22.080 --> 00:49:22.740
Too funny.

682
00:49:24.330 --> 00:49:24.930
John English: We should I

683
00:49:25.260 --> 00:49:30.090
John English: Timmy. I agree with you. We should take the the conversation elsewhere. We've had enough of that crap.

684
00:49:30.690 --> 00:49:31.050
Tim Trabon: Yeah.

685
00:49:31.260 --> 00:49:33.030
Raymond Bonilla: The last time I was thinking about

686
00:49:33.090 --> 00:49:34.410
Tim Trabon: You guys want to talk about the debate.

687
00:49:36.540 --> 00:49:37.290
John English: About the election.

688
00:49:41.010 --> 00:49:42.390
Tim Trabon: No, no, ya know, for

689
00:49:45.780 --> 00:49:46.440
Bill Koeb: For it.

690
00:49:46.470 --> 00:49:47.550
Bill Koeb: Yeah. Yummy.

691
00:49:47.700 --> 00:49:48.240
Yeah.

692
00:49:49.470 --> 00:49:54.810
Tim Trabon: Oh man, I don't think anybody wants there nobody is like messaging us on facebook being like

693
00:49:55.020 --> 00:49:55.800
Tim Trabon: Hey, you guys.

694
00:49:56.100 --> 00:49:58.680
Tim Trabon: Could you guys have a news catch up segment.

695
00:50:01.350 --> 00:50:11.640
Tim Trabon: I haven't gotten that message from people yet. Mostly, I would say we're we're intentionally doing what people say they like doesn't happen here.

696
00:50:16.140 --> 00:50:20.400
Tim Trabon: But now, that's okay i i'd say open until now. We did that in 1000

697
00:50:21.090 --> 00:50:24.330
Raymond Bonilla: Alright, well, we'll just stop talking about Gary Kelly, then I think that's what

698
00:50:24.330 --> 00:50:24.660
Bill Koeb: You know,

699
00:50:26.070 --> 00:50:26.340
Bill Koeb: Here's

700
00:50:26.520 --> 00:50:30.240
Bill Koeb: But here's a thought like, If you could have one person like one artist.

701
00:50:30.330 --> 00:50:31.860
Raymond Bonilla: I was actually thinking that. Yeah.

702
00:50:31.920 --> 00:50:34.320
Bill Koeb: For dinner, who would that be, you know,

703
00:50:34.770 --> 00:50:38.610
Tim Trabon: That your desert island, artists, maybe, maybe it doesn't need to be

704
00:50:39.060 --> 00:50:40.830
Raymond Bonilla: 4110 you

705
00:50:42.600 --> 00:50:42.870
Raymond Bonilla: Didn't

706
00:50:43.110 --> 00:50:44.640
Raymond Bonilla: Die. Yeah. What's wrong with just dinner.

707
00:50:45.720 --> 00:50:46.320
John English: Like that.

708
00:50:46.980 --> 00:50:48.750
Raymond Bonilla: Do we have to live with them on a desert island.

709
00:50:48.810 --> 00:50:52.710
Tim Trabon: Okay, well I was saying, if it was a quarantine you kind of gotta trust them in your bubble

710
00:50:58.530 --> 00:51:00.330
Tim Trabon: Ray, Ray. Who is your

711
00:51:00.360 --> 00:51:09.960
Raymond Bonilla: Desert, I, I've been thinking about it since since it was teeth. I would have to say, I would maybe have to say to invite over for dinner.

712
00:51:11.670 --> 00:51:17.400
Raymond Bonilla: Harvey done me I maybe want to talk to him. But, and there's so many

713
00:51:19.710 --> 00:51:22.770
Raymond Bonilla: So many good ones. Yeah, probably. Hardly done

714
00:51:25.410 --> 00:51:27.930
Raymond Bonilla: I would imagine you'd be a great conversationalist

715
00:51:30.420 --> 00:51:31.410
Raymond Bonilla: Or you just yell at me.

716
00:51:34.890 --> 00:51:35.250
Dale Stephanos: I think

717
00:51:36.600 --> 00:51:37.470
Raymond Bonilla: Probably yell at me.

718
00:51:38.550 --> 00:51:38.730
John English: I

719
00:51:40.500 --> 00:51:43.710
John English: Might a lot will depend on how long the dinner was

720
00:51:43.980 --> 00:51:49.830
John English: Yeah, it's true. I mean, there's no doubt the person I would like the most would be progressive

721
00:51:52.320 --> 00:51:54.060
John English: Have a conversation with Picasa

722
00:51:54.210 --> 00:51:56.010
Bill Koeb: I was thinking the same thing. JOHN but

723
00:51:56.910 --> 00:51:58.290
Dale Stephanos: I wouldn't want to hang around too long.

724
00:51:58.290 --> 00:51:58.770
John English: Oh, no.

725
00:51:59.250 --> 00:52:00.690
John English: It was, it would be you.

726
00:52:01.770 --> 00:52:03.660
John English: Wouldn't he wouldn't hang around very long anyway.

727
00:52:03.720 --> 00:52:05.430
John English: It would, it wouldn't last very long.

728
00:52:05.730 --> 00:52:07.410
Tim Trabon: Maybe like maybe like a taco.

729
00:52:08.790 --> 00:52:09.150
Don Kilpatrick III: Yeah.

730
00:52:10.680 --> 00:52:11.580
Dale Stephanos: My wife was there.

731
00:52:12.030 --> 00:52:13.110
Tim Trabon: A taco with Bokassa

732
00:52:13.440 --> 00:52:14.760
Bill Koeb: Should be a podcast.

733
00:52:19.260 --> 00:52:19.770
Don Kilpatrick III: A little bit.

734
00:52:30.000 --> 00:52:32.940
Bill Koeb: I would see, I would say somebody outside of

735
00:52:35.430 --> 00:52:37.650
Bill Koeb: Kind of traditional thinking, you know, like

736
00:52:42.300 --> 00:52:43.590
John English: Because it's not far enough.

737
00:52:44.640 --> 00:52:45.870
Bill Koeb: He but he know what

738
00:52:45.930 --> 00:52:48.330
Raymond Bonilla: He's known terms of like are you talking about Bill

739
00:52:48.630 --> 00:52:53.850
Bill Koeb: Yeah, like Picasso like know Picasso would be great. I would you know

740
00:52:56.550 --> 00:52:58.050
Bill Koeb: But somebody that

741
00:53:00.300 --> 00:53:02.580
Bill Koeb: You know, somebody on the fringes, you know, like

742
00:53:04.440 --> 00:53:05.070
Dale Stephanos: Oh, that guy.

743
00:53:06.540 --> 00:53:08.190
Bill Koeb: I'm just trying to, you know, like

744
00:53:09.210 --> 00:53:10.890
Bill Koeb: Like like over it like like

745
00:53:11.790 --> 00:53:12.360
Castles

746
00:53:13.920 --> 00:53:14.370
Bill Koeb: Or

747
00:53:15.480 --> 00:53:22.350
Tim Trabon: Bill, are you suggesting, you'd have dinner with somebody who is probably very plausible for you to schedule dinner with now.

748
00:53:22.800 --> 00:53:23.190
Yeah.

749
00:53:24.360 --> 00:53:25.770
Bill Koeb: I think with Camille Khaled El

750
00:53:26.070 --> 00:53:32.220
Raymond Bonilla: Now, yeah. Yeah, that would be a little bit difficult, but yes. Yeah, I like, I love that.

751
00:53:34.980 --> 00:53:42.540
Tim Trabon: You guys have all had dinner with a lot of artists who I would imagine are on people's desert island good dinner.

752
00:53:45.480 --> 00:53:45.630
Oh,

753
00:53:46.740 --> 00:53:47.490
Tim Trabon: Yeah.

754
00:53:49.560 --> 00:53:51.540
Raymond Bonilla: Well, none of you guys have had dinner with me so

755
00:53:51.690 --> 00:53:52.290
Tim Trabon: That's true.

756
00:53:53.160 --> 00:53:53.700
Dale Stephanos: No. Yeah.

757
00:53:57.900 --> 00:53:59.250
Tim Trabon: Ray I'm actually eating a

758
00:53:59.280 --> 00:54:00.390
Tim Trabon: Tortilla Soup.

759
00:54:02.790 --> 00:54:03.150
Raymond Bonilla: Hey,

760
00:54:03.900 --> 00:54:06.060
Tim Trabon: You myself every time I take a bite it.

761
00:54:06.930 --> 00:54:07.740
Raymond Bonilla: So that counts as

762
00:54:08.370 --> 00:54:10.320
Tim Trabon: I'm counting dinner with red

763
00:54:10.950 --> 00:54:12.360
Raymond Bonilla: Yeah, I was.

764
00:54:13.500 --> 00:54:17.250
Raymond Bonilla: I was waiting for job and say you know what's happening with you and they never will.

765
00:54:19.980 --> 00:54:21.210
John English: You figured that out.

766
00:54:24.540 --> 00:54:25.530
Raymond Bonilla: Take it as a side.

767
00:54:27.540 --> 00:54:28.500
John English: catching on.

768
00:54:29.310 --> 00:54:30.210
Raymond Bonilla: catching on.

769
00:54:35.880 --> 00:54:40.140
Raymond Bonilla: Fire remember thinking artist or man yeah Picasa be cool. That'd be great.

770
00:54:41.160 --> 00:54:43.020
Raymond Bonilla: Man, so many know

771
00:54:43.950 --> 00:54:45.960
Raymond Bonilla: Would it be the best conversation, though, right.

772
00:54:46.170 --> 00:54:47.550
Raymond Bonilla: But I'm thinking like

773
00:54:49.080 --> 00:54:53.130
Don Kilpatrick III: I can't get the Jon lovitz playing a concert on Saturday night. Let me head, though, when you bring

774
00:54:55.740 --> 00:54:56.520
Don Kilpatrick III: Like, hey, I'm looking

775
00:54:58.410 --> 00:55:00.600
Raymond Bonilla: Yeah, maybe. Maybe Jon lovitz for

776
00:55:00.600 --> 00:55:03.840
Raymond Bonilla: Dinner playing coming in as because oh

777
00:55:04.230 --> 00:55:07.740
Don Kilpatrick III: No, that's kind of what bills, talking to, that's you know it's models outlet

778
00:55:08.580 --> 00:55:10.890
Raymond Bonilla: Outlet things. Yeah, yeah.

779
00:55:11.100 --> 00:55:12.300
Tim Trabon: Ski with Lou.

780
00:55:12.450 --> 00:55:14.640
Bill Koeb: Are like or less. Yeah.

781
00:55:15.660 --> 00:55:17.670
Tim Trabon: Yeah Basquiat. That's what I was thinking.

782
00:55:17.880 --> 00:55:18.360
Don Kilpatrick III: Or David

783
00:55:20.220 --> 00:55:23.250
Don Kilpatrick III: David Bowie. Yeah. Andy Warhol, you know,

784
00:55:23.760 --> 00:55:24.750
Raymond Bonilla: From yeah yeah

785
00:55:26.430 --> 00:55:27.780
Dale Stephanos: Yeah what drove me nuts.

786
00:55:27.840 --> 00:55:30.120
John English: Yeah, me too. I couldn't do Basquiat, or we're all

787
00:55:31.410 --> 00:55:33.060
Dale Stephanos: Oh my god, especially not workable.

788
00:55:35.790 --> 00:55:37.140
Tim Trabon: You guys have to elaborate

789
00:55:40.560 --> 00:55:44.220
Tim Trabon: You, but that's like that was a really strong. That was a hard no

790
00:55:49.980 --> 00:55:51.030
John English: Rather not is what

791
00:55:52.860 --> 00:55:56.460
Dale Stephanos: I'm going to pull that one off on right. Hey, great to have someone, you really got to meet. I gotta go.

792
00:55:56.910 --> 00:55:57.840
Raymond Bonilla: Yeah, I gotta go.

793
00:55:59.070 --> 00:56:00.870
Raymond Bonilla: My phone's ringing bring bring

794
00:56:02.370 --> 00:56:03.060
Don Kilpatrick III: Lisa raised

795
00:56:03.930 --> 00:56:04.260
Yeah.

796
00:56:07.020 --> 00:56:09.420
Raymond Bonilla: Well, we're talking about, like, okay, non

797
00:56:11.040 --> 00:56:16.170
Raymond Bonilla: non non non visual artist, then I would definitely say Miles Davis for me.

798
00:56:18.390 --> 00:56:24.120
Raymond Bonilla: If I, if I didn't really upset upset him and have him yell at me.

799
00:56:24.450 --> 00:56:25.140
Dale Stephanos: Yeah yeah

800
00:56:25.200 --> 00:56:25.590
Yeah.

801
00:56:27.690 --> 00:56:28.140
Don Kilpatrick III: Yeah.

802
00:56:29.220 --> 00:56:40.110
John English: You know, I, I, I'll be true. I'll be honest, if, if, if I had the option, it would probably outside of family members.

803
00:56:41.910 --> 00:56:46.650
John English: But I absolutely adored Robert handle so much, I would say, Robert. I know.

804
00:56:47.070 --> 00:56:51.570
John English: Yeah, he was so entertaining and I just liked him so much.

805
00:56:55.140 --> 00:56:59.460
Raymond Bonilla: Yeah, let's see, that's, that's what I was thinking I was. It was a toss up between him.

806
00:57:02.310 --> 00:57:04.500
Raymond Bonilla: Like Robert faucet Austin Briggs.

807
00:57:04.830 --> 00:57:05.400
Yeah.

808
00:57:07.530 --> 00:57:08.850
Raymond Bonilla: Robert Weaver

809
00:57:09.240 --> 00:57:09.780
Oh,

810
00:57:11.610 --> 00:57:13.680
John English: We ever would be okay. I just got a new one.

811
00:57:14.520 --> 00:57:16.050
Raymond Bonilla: So we had about this.

812
00:57:16.260 --> 00:57:16.560
Raymond Bonilla: Out of

813
00:57:18.210 --> 00:57:18.420
Bill Koeb: Me.

814
00:57:19.140 --> 00:57:25.290
Raymond Bonilla: Right. Well, you could you could you could pick one artist but it's got, you know, first name is gotta be Robert

815
00:57:27.270 --> 00:57:28.260
Raymond Bonilla: Robert, what's your advice.

816
00:57:37.470 --> 00:57:39.270
Tim Trabon: I think I'd go, I would go with Prince.

817
00:57:41.610 --> 00:57:42.210
Raymond Bonilla: Man.

818
00:57:42.690 --> 00:57:44.130
Raymond Bonilla: You know, I was gonna say

819
00:57:45.780 --> 00:57:48.420
Raymond Bonilla: Cuz you know I want people to

820
00:57:48.570 --> 00:57:49.710
Dale Stephanos: Say prints.

821
00:57:49.770 --> 00:57:50.490
Raymond Bonilla: Great. Yeah.

822
00:57:50.700 --> 00:57:52.230
Dale Stephanos: That would be such a weird dinner.

823
00:57:53.010 --> 00:57:53.430
Tim Trabon: I mean,

824
00:57:53.850 --> 00:57:56.730
Tim Trabon: I don't want it to be. I don't want to forget the dinner. Dale.

825
00:57:57.390 --> 00:58:01.920
Dale Stephanos: Yet but i think i think you just sit there and try to make conversation and he would just stare at you.

826
00:58:02.730 --> 00:58:03.360
Yeah.

827
00:58:04.890 --> 00:58:08.610
Raymond Bonilla: Jimmy would care about that. It meant to me. He's eating. He's eating right now.

828
00:58:08.940 --> 00:58:11.640
Tim Trabon: All I do is listen to you guys ramble.

829
00:58:11.850 --> 00:58:14.520
Raymond Bonilla: Everything he thinks he's out to dinner with them.

830
00:58:14.550 --> 00:58:14.820
Tim Trabon: What do you

831
00:58:14.850 --> 00:58:16.290
Bill Koeb: What do you think is

832
00:58:16.320 --> 00:58:17.280
Tim Trabon: For me, Dale.

833
00:58:17.640 --> 00:58:19.440
Dale Stephanos: I think, I think the magic has

834
00:58:19.560 --> 00:58:21.030
Dale Stephanos: I think the magic has gone

835
00:58:22.380 --> 00:58:22.590
Raymond Bonilla: For

836
00:58:22.650 --> 00:58:23.400
Dale Stephanos: Me with us.

837
00:58:25.110 --> 00:58:25.800
John English: We've lost them.

838
00:58:26.640 --> 00:58:29.970
Dale Stephanos: We lost to notice he got to know us to. Well, that's what

839
00:58:30.060 --> 00:58:35.130
Tim Trabon: He says says George Pratt, which I promise you if I'm Brad I'd

840
00:58:35.640 --> 00:58:38.310
Tim Trabon: I'd be like a dream. This is George, I'll see you guys later.

841
00:58:42.690 --> 00:58:45.030
Tim Trabon: Yeah, that would be my Basquiat Dale.

842
00:58:47.760 --> 00:58:48.840
Tim Trabon: No, I'm kidding.

843
00:58:49.740 --> 00:58:50.160
Raymond Bonilla: I gotta

844
00:58:50.370 --> 00:58:51.510
Tim Trabon: I gotta pull out one back.

845
00:58:51.720 --> 00:58:53.610
John English: I can honestly say from

846
00:58:53.610 --> 00:58:57.810
John English: Somebody who said dinner hundreds of times with George Pratt.

847
00:58:58.350 --> 00:58:58.830
Yeah.

848
00:58:59.880 --> 00:59:03.660
John English: I would still do them on that list because he is one entertaining guy.

849
00:59:03.990 --> 00:59:04.410
Don Kilpatrick III: Yeah.

850
00:59:04.830 --> 00:59:07.140
Dale Stephanos: He always says a good joke. Yeah.

851
00:59:08.760 --> 00:59:08.970
Raymond Bonilla: You

852
00:59:10.290 --> 00:59:11.850
Tim Trabon: Know, it was just a burn.

853
00:59:11.910 --> 00:59:13.110
Tim Trabon: It was just a bird deal

854
00:59:13.260 --> 00:59:19.890
Raymond Bonilla: Yeah, which listed we talking about the, the, like, definitely would love to hang out or like would like to pawn off on ray

855
00:59:23.220 --> 00:59:24.330
Tim Trabon: I there's a

856
00:59:24.360 --> 00:59:24.960
John English: Difference.

857
00:59:25.170 --> 00:59:25.410
I have

858
00:59:26.910 --> 00:59:27.330
Raymond Bonilla: I

859
00:59:27.450 --> 00:59:28.740
Tim Trabon: Have a friend who

860
00:59:30.210 --> 00:59:34.950
Tim Trabon: His wife was pulled on stage for a prince concert in Kansas.

861
00:59:35.220 --> 00:59:51.540
Tim Trabon: Whoa, yeah. And that same night he was at a bar that Prince went to afterwards. And he didn't realize, but his back was up to Prince at the bar and it's like giant man walked up to him. It's like

862
00:59:52.620 --> 00:59:55.260
Tim Trabon: Prince has requested that you stopped on being into him.

863
00:59:58.230 --> 01:00:06.420
Tim Trabon: And you guys, so like is they were not married yet, at the time, but he's like, but at me and my wife, me and my wife both met prints on the same night.

864
01:00:09.300 --> 01:00:10.290
Tim Trabon: Before they knew each other.

865
01:00:12.600 --> 01:00:13.020
Tim Trabon: They both

866
01:00:13.080 --> 01:00:14.760
Tim Trabon: imprints before they knew each other.

867
01:00:16.290 --> 01:00:18.510
Raymond Bonilla: That's how most things go. Yeah.

868
01:00:20.730 --> 01:00:21.090
Raymond Bonilla: You

869
01:00:21.870 --> 01:00:25.410
Raymond Bonilla: Have a huge Prince fan, so that that's awesome time heat for insane to

870
01:00:27.510 --> 01:00:28.170
Don Kilpatrick III: See that

871
01:00:32.850 --> 01:00:35.370
John English: majorly talented guy. No doubt. Well,

872
01:00:37.110 --> 01:00:37.740
Raymond Bonilla: Yep.

873
01:00:40.200 --> 01:00:46.710
Raymond Bonilla: I like the idea of being able to just do everything all facets of creating every part of your artwork and

874
01:00:48.660 --> 01:00:49.110
Raymond Bonilla: You just

875
01:00:50.760 --> 01:00:54.420
Raymond Bonilla: Generating that you're being able to having the ability to generate yourself.

876
01:00:55.770 --> 01:00:59.370
Raymond Bonilla: And I've always liked artists like that like brands like Bill plympton

877
01:00:59.460 --> 01:01:01.350
Tim Trabon: I feel like David Bowie's David Bowie's

878
01:01:01.530 --> 01:01:02.040
Raymond Bonilla: Only

879
01:01:02.100 --> 01:01:04.320
Tim Trabon: It's this this is this is me. I don't

880
01:01:04.770 --> 01:01:08.340
John English: I don't get one. You know, I mean,

881
01:01:09.840 --> 01:01:14.970
Tim Trabon: It is a it puts a lot of I cried. I think behind different which I love.

882
01:01:17.220 --> 01:01:27.300
John English: The problem like for me with Bowie or Springsteen or somebody that I just like have huge admiration for it would be a horrifying what to say. Oh.

883
01:01:27.750 --> 01:01:30.450
John English: Yeah, hey, I really like your music, you know,

884
01:01:30.720 --> 01:01:31.890
Dale Stephanos: That's the worst.

885
01:01:31.980 --> 01:01:33.360
John English: Yeah, I wouldn't say

886
01:01:34.650 --> 01:01:36.570
Don Kilpatrick III: That one thing you did was so cool.

887
01:01:36.720 --> 01:01:37.200
Yeah.

888
01:01:38.640 --> 01:01:40.050
Tim Trabon: That's the Chris Farley interview.

889
01:01:40.110 --> 01:01:40.980
Don Kilpatrick III: Yeah, absolutely.

890
01:01:41.310 --> 01:01:41.460
You

891
01:01:43.020 --> 01:01:44.340
John English: Remember when yeah

892
01:01:47.580 --> 01:01:48.420
Dale Stephanos: That was awesome.

893
01:01:55.110 --> 01:01:58.500
Raymond Bonilla: That's uh yeah you know I wouldn't probably want it.

894
01:01:58.590 --> 01:02:08.340
Raymond Bonilla: I would, I shouldn't say this because I would definitely even though I probably wouldn't have a good time. And I would be disappointed. I probably wouldn't want to go to

895
01:02:09.090 --> 01:02:10.170
Tim Trabon: Bob to dinner with

896
01:02:10.380 --> 01:02:10.980
Raymond Bonilla: With john

897
01:02:13.530 --> 01:02:15.450
Tim Trabon: Sorry, I was hoping they're guessing.

898
01:02:16.140 --> 01:02:17.970
Raymond Bonilla: Who put salt on their spaghetti.

899
01:02:20.010 --> 01:02:20.250
Bill Koeb: With

900
01:02:20.910 --> 01:02:22.080
Jimmy DYLAN, DOES

901
01:02:25.410 --> 01:02:27.000
Raymond Bonilla: John Singer Sargent, I

902
01:02:27.720 --> 01:02:27.900
Raymond Bonilla: Don't know.

903
01:02:28.170 --> 01:02:35.760
Raymond Bonilla: I would be this, you know, and it's the reason why I say that is because not because I would be like, remember that painting you did with the guy in

904
01:02:36.240 --> 01:02:37.290
Raymond Bonilla: portrait. That's it.

905
01:02:38.580 --> 01:02:39.630
Raymond Bonilla: It's, it's this

906
01:02:41.220 --> 01:02:41.670
Raymond Bonilla: This

907
01:02:43.080 --> 01:02:47.880
Raymond Bonilla: This James Montgomery flag. Did you hear the story budget in my country flag and Johnson.

908
01:02:47.880 --> 01:02:48.810
Dale Stephanos: He would be awesome.

909
01:02:49.770 --> 01:02:50.760
Don Kilpatrick III: Yeah, he was great.

910
01:02:51.300 --> 01:03:01.020
Raymond Bonilla: So he'd be great, right, and he loved Sergeant like love Sergeant like he just couldn't have. It was like it was just such a it was like a fanatic. Right.

911
01:03:02.280 --> 01:03:03.690
Raymond Bonilla: Total total like just

912
01:03:04.830 --> 01:03:18.600
Raymond Bonilla: Sergeant lover and he was able to, because obviously this suit you know well known at the time he was, he had connections and he knew someone that knew someone that knew sergeant. And so when Sergeant came to the States. He was actually able to have lunch with them.

913
01:03:19.950 --> 01:03:36.360
Raymond Bonilla: And it was like, wow, I'm actually doing this meeting my hero. Right. And he said that Sergeant was like just the biggest jerk to him and just was like arrogant and like just wrote him off and

914
01:03:37.980 --> 01:03:44.730
Raymond Bonilla: And he said in like it's in. It's in the days are going to be flagged book that out while read put together and

915
01:03:46.050 --> 01:04:00.540
Raymond Bonilla: He had said he's like never meet your heroes you because you get to be disappointed. And I was like, oh my god, that could have been me. I don't know why, when I felt that, you know, I was like concerns. It was dead like seven years before I was even born, but

916
01:04:02.400 --> 01:04:05.220
Dale Stephanos: Yeah, we actually relieved for, like, Oh, thank God I didn't meet him.

917
01:04:05.730 --> 01:04:06.480
Raymond Bonilla: Yeah yeah

918
01:04:06.540 --> 01:04:08.370
Raymond Bonilla: Yeah, in a way.

919
01:04:09.000 --> 01:04:10.230
Tim Trabon: That no I mean

920
01:04:10.680 --> 01:04:18.600
Tim Trabon: My advice when I started producing that show for HBO. So it'd be like 2000 probably 2010 they

921
01:04:19.620 --> 01:04:31.830
Tim Trabon: I really wanted to shoot for advice. That was like my, I thought that would be the coolest thing is to be going on location for Vice News and I saw the North Korea episode with

922
01:04:33.090 --> 01:04:33.390
Dale Stephanos: With

923
01:04:34.290 --> 01:04:35.880
Tim Trabon: Ryan Duffy, and

924
01:04:37.620 --> 01:04:43.230
Tim Trabon: Yeah, I can't, I'm trying to remember the context of when they went over there there with like

925
01:04:44.370 --> 01:04:46.440
Don Kilpatrick III: I don't remember that they were that episode you

926
01:04:47.550 --> 01:04:55.020
Tim Trabon: Dennis Rodman goes over there with them. They go right. And it was this kind of iconic episode because like no one had been to North Korea.

927
01:04:55.350 --> 01:05:13.590
Tim Trabon: Really under it was kind of a groundbreaking deal but I went to Vice News website. Basically, I met one person that worked advice and they're like email structure was like our underscore like first letter last of your first name underscore

928
01:05:13.650 --> 01:05:15.480
Raymond Bonilla: Last Name. Okay. Yeah, yeah.

929
01:05:15.540 --> 01:05:16.320
Tim Trabon: And I was like,

930
01:05:17.460 --> 01:05:28.290
Tim Trabon: I wonder if everybody's email advice is like that. So I emailed her and Duffy was like, hey, I'm in New York on a shoot next week. Can I get coffee with you. He was like, yeah, cool. Let's do it.

931
01:05:30.720 --> 01:05:31.560
Like food.

932
01:05:33.030 --> 01:05:33.510
Tim Trabon: Like

933
01:05:33.630 --> 01:05:34.080
Today,

934
01:05:35.160 --> 01:05:37.380
Tim Trabon: No reason to be in New York.

935
01:05:38.730 --> 01:05:46.620
Tim Trabon: Yeah. And then I I was getting meet with them to get coffee like I was just my whole trip was riddled with lies just

936
01:05:46.710 --> 01:05:48.180
Tim Trabon: Like because there was no production.

937
01:05:48.810 --> 01:05:48.960
Raymond Bonilla: There.

938
01:05:49.470 --> 01:05:50.880
Raymond Bonilla: Was no there.

939
01:05:51.600 --> 01:06:00.660
Tim Trabon: Was activity. And then, and then literally like 10 minutes before he is going to be me with coffee, he's like, Hey, man. Something just came up on busy.

940
01:06:00.690 --> 01:06:02.490
Raymond Bonilla: I can't meet. Oh.

941
01:06:03.540 --> 01:06:10.410
Tim Trabon: I was like oh my god I'm I've. It was like a moment where you're like, I've done something that insane people do.

942
01:06:11.940 --> 01:06:12.690
Tim Trabon: This isn't

943
01:06:13.740 --> 01:06:23.940
Tim Trabon: Thank God you didn't meet him because I'm insane person and then i and then he ended up meeting up with me for like like an hour and a half, like a couple hours later.

944
01:06:24.390 --> 01:06:25.680
Tim Trabon: No. Right. Yeah.

945
01:06:26.040 --> 01:06:26.520
Tim Trabon: So I had

946
01:06:26.610 --> 01:06:38.070
Tim Trabon: A coffee with him for a while and never nothing ever came of it. But, uh, but uh yeah it was definitely I like, I don't know that I would ever do anything like that again.

947
01:06:38.550 --> 01:06:43.980
John English: Yeah, yeah. That almost sounds like into that should be well then I guess the relationship didn't work out.

948
01:06:44.250 --> 01:06:47.190
Dale Stephanos: Right, right, straining order and then

949
01:06:47.640 --> 01:06:48.240
Yeah.

950
01:06:49.890 --> 01:06:50.850
Tim Trabon: That is like

951
01:06:50.880 --> 01:06:57.030
Tim Trabon: blares that that is Dale, it is, you know, just like one reveal that results in a restraining order.

952
01:06:57.720 --> 01:07:03.990
Dale Stephanos: Yeah, but that's also that's also the tale of the way a lot of people, you know,

953
01:07:05.310 --> 01:07:05.580
Dale Stephanos: You know,

954
01:07:05.640 --> 01:07:18.750
Tim Trabon: That was my plan. I went and met with him I the whole meeting was really to like convince him I could be like I somebody's face. Yeah, I could do something for them, you know,

955
01:07:18.780 --> 01:07:19.170
Right.

956
01:07:20.490 --> 01:07:21.990
Dale Stephanos: I did a very similar thing with

957
01:07:23.370 --> 01:07:25.770
Dale Stephanos: The cartoonist pat Oliphant

958
01:07:27.300 --> 01:07:40.590
Dale Stephanos: political cartoons and he would, he lived in Washington at the time and I did the same thing. I lied. I actually called him. This is back in the days when you could just do that call people on the phone and

959
01:07:42.420 --> 01:07:43.110
Dale Stephanos: I said, well,

960
01:07:44.340 --> 01:07:52.800
Dale Stephanos: He was very nice. We spoke for a little while and I said, I'm going to be in in Washington cheese later, you know, whenever later that week or something.

961
01:07:53.340 --> 01:08:05.640
Dale Stephanos: This is back in the 80s. So I really remember, but, and he was like, well, geez, come on by, and it was you know I had that moment that you had is like, oh, am I being I'm being like really creepy. I think

962
01:08:06.750 --> 01:08:10.530
Dale Stephanos: It actually worked out. He's super nice guy and very

963
01:08:11.790 --> 01:08:16.020
Dale Stephanos: Welcoming and supportive and he never found out that I was the stalker that I was

964
01:08:18.120 --> 01:08:21.570
Dale Stephanos: But, but that's. Those are the days when you could do that stuff. And it wasn't sure.

965
01:08:22.350 --> 01:08:27.180
Raymond Bonilla: Yeah. Yeah. Totally. Totally. I mean, that's, that's, yeah that's that's how I

966
01:08:27.780 --> 01:08:30.210
John English: There's a difference between could and should

967
01:08:32.130 --> 01:08:33.630
Raymond Bonilla: Right total

968
01:08:34.080 --> 01:08:40.020
Tim Trabon: Well, when when I when he was like, I can't make it. I was basically I kind of, I think I went into it knowing

969
01:08:41.340 --> 01:08:42.210
That might happen.

970
01:08:43.230 --> 01:08:45.960
Tim Trabon: JOHN I was just starting to work with you john at that time.

971
01:08:46.890 --> 01:08:49.980
Tim Trabon: Because I think you might remember john cuz i remember i

972
01:08:50.310 --> 01:08:51.450
Tim Trabon: I booked the flight.

973
01:08:51.750 --> 01:09:04.470
Tim Trabon: And then I was like yeah meeting this person and my dad was like, you should probably schedule, other people to meet with just in case that would fall, sir. And so I sent another email to this filmmaker. I really liked Casey nice dad, who was

974
01:09:04.560 --> 01:09:05.010
Raymond Bonilla: Oh, yeah.

975
01:09:05.220 --> 01:09:10.560
Tim Trabon: Well, I'm Casey. Nice. That was like sure, I'll meet with you too. So, I had two people.

976
01:09:12.120 --> 01:09:14.250
Tim Trabon: CASEY nice that full blown did cancel on me.

977
01:09:16.470 --> 01:09:22.860
Tim Trabon: But so, but you know, it's like, I mean, I went with the goal one I added on to, you know, so yeah.

978
01:09:23.010 --> 01:09:23.940
Dale Stephanos: Was that before.

979
01:09:24.480 --> 01:09:26.040
Tim Trabon: So if you need any pointers on

980
01:09:26.130 --> 01:09:27.870
Tim Trabon: On stalking your idols.

981
01:09:29.310 --> 01:09:30.660
Dale Stephanos: Not, not doing it well.

982
01:09:31.110 --> 01:09:31.710
Yeah.

983
01:09:33.120 --> 01:09:33.330
Yeah.

984
01:09:34.950 --> 01:09:35.430
Tim Trabon: Right.

985
01:09:35.490 --> 01:09:36.120
Tim Trabon: Now well

986
01:09:39.390 --> 01:09:41.340
John English: Sounds like you did a pretty good job of it actually

987
01:09:42.990 --> 01:09:44.970
C. F. Payne: We have to be at 20 minutes. Don't wait.

988
01:09:45.570 --> 01:09:47.070
John English: Oh, yeah, yeah.

989
01:09:47.160 --> 01:09:48.000
Tim Trabon: Maybe we should

990
01:09:48.210 --> 01:09:49.770
John English: I didn't want to interrupt was good.

991
01:09:51.630 --> 01:09:52.410
Don Kilpatrick III: That's a great

992
01:09:52.800 --> 01:09:54.420
Raymond Bonilla: Yeah, I wanted to hear the end of the story.

993
01:09:55.350 --> 01:09:56.160
C. F. Payne: Oh, sorry.

994
01:09:58.470 --> 01:09:58.980
Raymond Bonilla: Chuck

995
01:10:01.440 --> 01:10:08.130
Raymond Bonilla: I just wanted to know, like, Timmy Timmy was like stuck in New York and broke because he forgot his wallet.

996
01:10:10.080 --> 01:10:13.290
Raymond Bonilla: Back and he was hoping that Ryan DUFFY WITH with us, you know,

997
01:10:13.770 --> 01:10:15.180
Tim Trabon: There is definitely a guy.

998
01:10:15.210 --> 01:10:18.060
Tim Trabon: That worked at the bar that was like this is

999
01:10:22.050 --> 01:10:22.800
Tim Trabon: Like clear

1000
01:10:23.190 --> 01:10:24.030
John English: I've seen better

1001
01:10:24.630 --> 01:10:26.250
He's definitely like

1002
01:10:30.450 --> 01:10:35.100
Tim Trabon: You know, like on the phone like yeah no bout to get off be there.

1003
01:10:43.200 --> 01:10:45.630
Tim Trabon: All right, should we gear up for the next one.

1004
01:10:47.130 --> 01:10:49.830
Raymond Bonilla: Yeah, we'll do a little we're doing a tour.

1005
01:10:50.070 --> 01:10:51.210
Raymond Bonilla: Yeah, sadly,

1006
01:10:54.900 --> 01:10:59.790
John English: I'm still drawing the last one, so you don't have to come back. Yeah.

1007
01:11:00.450 --> 01:11:02.280
Raymond Bonilla: And now the rules are the rules john

1008
01:11:09.630 --> 01:11:10.170
Dale Stephanos: That's right.

1009
01:11:11.460 --> 01:11:11.940
Dale Stephanos: Green.

1010
01:11:14.490 --> 01:11:15.450
C. F. Payne: Wow, that's good.

1011
01:11:19.170 --> 01:11:19.830
Tim Trabon: Nice deal

1012
01:11:26.310 --> 01:11:33.600
Dale Stephanos: I'm not gonna say down in flames. I'm also not going to say it's like what what it is risk needs some ice obviously

1013
01:11:34.950 --> 01:11:35.280
Right.

1014
01:11:38.220 --> 01:11:40.740
Raymond Bonilla: Now that's that's good thing. That's a good thing and rolling list.

1015
01:11:44.580 --> 01:11:45.570
Dale Stephanos: Oh, nice.

1016
01:11:45.960 --> 01:11:47.400
Dale Stephanos: bow, bow.

1017
01:11:48.600 --> 01:11:49.050
C. F. Payne: Bow.

1018
01:11:49.590 --> 01:11:50.010
Hey,

1019
01:11:55.530 --> 01:11:58.200
Bill Koeb: I was thinking about those Olympic posters.

1020
01:12:02.010 --> 01:12:04.770
Raymond Bonilla: So that's partial credit goes to me, I'll

1021
01:12:05.160 --> 01:12:07.470
Raymond Bonilla: Be willing to settle for 60% bill.

1022
01:12:11.220 --> 01:12:11.580
Yep.

1023
01:12:14.130 --> 01:12:14.850
C. F. Payne: There we go.

1024
01:12:14.940 --> 01:12:16.650
C. F. Payne: Nice finished art.

1025
01:12:17.040 --> 01:12:19.050
Raymond Bonilla: Wow yeah you know

1026
01:12:21.690 --> 01:12:28.230
Raymond Bonilla: I had a craft out about 95% of the composition or to get this done on time Don's doing everything in there.

1027
01:12:28.380 --> 01:12:28.740
Oh,

1028
01:12:31.560 --> 01:12:31.950
Don Kilpatrick III: Thanks.

1029
01:12:33.450 --> 01:12:34.440
Don Kilpatrick III: Love that gesture.

1030
01:12:35.190 --> 01:12:36.360
Raymond Bonilla: Yeah, it's great gesture.

1031
01:12:37.350 --> 01:12:38.700
C. F. Payne: Yep. Okay.

1032
01:12:38.730 --> 01:12:39.780
Tim Trabon: Who's up next.

1033
01:12:41.730 --> 01:12:44.400
Bill Koeb: Guy bill think I'm up next.

1034
01:12:44.490 --> 01:12:45.870
John English: Wheels. Up next is

1035
01:12:46.560 --> 01:12:48.570
Tim Trabon: Unfortunately, it looks like Ashley's

1036
01:12:49.650 --> 01:12:52.290
Tim Trabon: Maybe not join us, but maybe she'll come in.

1037
01:12:52.590 --> 01:12:54.990
John English: Well, that means deals deals closing the shop down

1038
01:12:58.410 --> 01:13:02.100
John English: Or dad, your dad. I don't know if you can stay. It's

1039
01:13:02.130 --> 01:13:02.700
Dale Stephanos: Now I've got

1040
01:13:03.960 --> 01:13:08.460
Dale Stephanos: My daughter and I are are going to watch the debate and get triggered. If at nine so

1041
01:13:09.420 --> 01:13:10.080
Bill Koeb: You want to go.

1042
01:13:12.690 --> 01:13:13.020
Dale Stephanos: If you want

1043
01:13:13.350 --> 01:13:14.190
Bill Koeb: To go. That's fine.

1044
01:13:15.180 --> 01:13:18.300
John English: I chosen. No. Well, no. Well bills going now.

1045
01:13:18.990 --> 01:13:20.100
John English: Okay, and then

1046
01:13:21.330 --> 01:13:21.990
Don Kilpatrick III: Yeah, okay.

1047
01:13:22.170 --> 01:13:24.390
John English: And so, Don will go down we go last.

1048
01:13:24.600 --> 01:13:25.200
Don Kilpatrick III: Yeah, sure.

1049
01:13:25.290 --> 01:13:25.950
Tim Trabon: All right.

1050
01:13:26.700 --> 01:13:29.460
John English: Don's gonna do it all in a gill Ashby's voice.

1051
01:13:29.850 --> 01:13:30.210
Yeah.

1052
01:13:33.210 --> 01:13:38.190
Raymond Bonilla: You can never matches you just good luck. Good luck with that. Okay.

1053
01:13:38.340 --> 01:13:39.510
Don Kilpatrick III: very tall order.

1054
01:13:41.100 --> 01:13:45.810
Tim Trabon: The next image app is the deed that underhand layup.

1055
01:13:49.980 --> 01:13:51.600
Raymond Bonilla: The underhand layup.

1056
01:13:52.770 --> 01:13:55.170
Dale Stephanos: Whatever that means for the pink and the green in the back.

1057
01:13:55.500 --> 01:13:56.370
John English: Yeah. Yep.

1058
01:13:57.180 --> 01:13:59.130
Tim Trabon: That's underhanded layer. I got it.

1059
01:14:02.070 --> 01:14:03.120
Dale Stephanos: I thought it was more

1060
01:14:04.380 --> 01:14:06.150
Tim Trabon: Maybe I can tip off is that

1061
01:14:07.500 --> 01:14:10.620
Dale Stephanos: No, I thought underhanded was sort of like a, you know,

1062
01:14:11.970 --> 01:14:13.530
Bill Koeb: Are all layups underhanded

1063
01:14:15.750 --> 01:14:16.500
Raymond Bonilla: At the way I do it.

1064
01:14:25.440 --> 01:14:28.320
C. F. Payne: This one here, the one where it's with a multi colored background.

1065
01:14:28.560 --> 01:14:29.460
Raymond Bonilla: Yeah, soon.

1066
01:14:30.420 --> 01:14:31.860
Dale Stephanos: The pink and the green background.

1067
01:14:32.280 --> 01:14:34.110
Tim Trabon: Yeah. All right.

1068
01:14:46.320 --> 01:14:47.550
C. F. Payne: Oh, there we go. Gotcha.

1069
01:15:33.420 --> 01:15:37.920
Raymond Bonilla: I still think about that artists question, Mike updating my my choices.

1070
01:15:40.200 --> 01:15:42.870
John English: You do. No, no, it's not gonna happen. Right.

1071
01:15:46.980 --> 01:15:50.520
Raymond Bonilla: I just, I'm just too busy, right. I don't know how to tell you

1072
01:15:51.930 --> 01:15:52.320
Dale Stephanos: It's like

1073
01:15:52.860 --> 01:15:54.360
Raymond Bonilla: I have to wash my hair.

1074
01:15:54.990 --> 01:15:57.780
Dale Stephanos: It's like getting stressed out about how you'll spend the lottery winnings.

1075
01:15:58.170 --> 01:15:59.130
Raymond Bonilla: Right. Right. Yeah.

1076
01:16:00.900 --> 01:16:02.700
Dale Stephanos: I don't need three houses.

1077
01:16:07.680 --> 01:16:10.560
Dale Stephanos: I love Andrew wife, but I don't think that'd be very good dinner.

1078
01:16:11.730 --> 01:16:14.460
Raymond Bonilla: I think it would be great. Now, except

1079
01:16:15.660 --> 01:16:18.360
Dale Stephanos: You know, um, I'll do it.

1080
01:16:21.930 --> 01:16:23.130
Bill Koeb: I'll call him out.

1081
01:16:23.460 --> 01:16:25.050
Dale Stephanos: He didn't do anything. You

1082
01:16:25.200 --> 01:16:26.550
Bill Koeb: MAKE MAC. We asked

1083
01:16:27.360 --> 01:16:35.910
Dale Stephanos: All he did was, was paint so like I don't know. You know, I want a good conversation and this is my only shot.

1084
01:16:37.920 --> 01:16:44.880
Dale Stephanos: You know what really all someone has to offer is that the work and you know I can see the work already well

1085
01:16:45.000 --> 01:16:47.490
Bill Koeb: That's why I would think so many like Weaver would be cool.

1086
01:16:47.730 --> 01:16:49.350
John English: Yeah, yeah, no.

1087
01:16:49.590 --> 01:16:52.320
John English: No, that's why Harvey done would be so great.

1088
01:16:52.410 --> 01:16:52.680
You know,

1089
01:16:53.850 --> 01:16:54.210
Raymond Bonilla: Yeah.

1090
01:16:54.600 --> 01:16:56.370
John English: learning experiences life was

1091
01:16:57.750 --> 01:16:57.990
Raymond Bonilla: I

1092
01:16:58.290 --> 01:16:59.550
C. F. Payne: Consider Tom Wolfe.

1093
01:17:01.620 --> 01:17:05.670
Raymond Bonilla: Tom law. Yeah. Okay. So, like maybe like Robert Henry then

1094
01:17:06.450 --> 01:17:07.050
Dale Stephanos: Oh, wow.

1095
01:17:07.380 --> 01:17:08.700
Raymond Bonilla: That'd be really cool.

1096
01:17:09.690 --> 01:17:17.700
C. F. Payne: Well, you know, the thing was wolf was a great fan of illustration, right, he did one of his own illustrations for articles.

1097
01:17:19.830 --> 01:17:23.700
Dale Stephanos: And he could certainly you could have a good conversation with that guy.

1098
01:17:24.210 --> 01:17:24.720
C. F. Payne: Domain.

1099
01:17:25.380 --> 01:17:29.550
C. F. Payne: I mean, I did get to meet them was I didn't go out to dinner with them in an interview and once

1100
01:17:31.170 --> 01:17:32.430
C. F. Payne: And that was pretty fun.

1101
01:17:33.000 --> 01:17:33.810
Raymond Bonilla: Oh, that's awesome.

1102
01:17:36.480 --> 01:17:39.990
Dale Stephanos: I take him to an Italian place and demand that he wears white suit.

1103
01:17:45.240 --> 01:17:51.990
Raymond Bonilla: I honestly don't know of any other image in my head of Tom Wolfe, other than it's white suit.

1104
01:17:52.080 --> 01:17:52.320
That's

1105
01:17:53.790 --> 01:17:54.090
Dale Stephanos: Right.

1106
01:17:54.510 --> 01:17:55.350
Raymond Bonilla: Right, yeah.

1107
01:17:55.530 --> 01:17:57.390
John English: No, no, there's the one with him in the white hat.

1108
01:18:04.080 --> 01:18:05.850
Bill Koeb: What about some elixirs of Conrad.

1109
01:18:07.080 --> 01:18:07.350
Dale Stephanos: Oh,

1110
01:18:07.890 --> 01:18:09.240
Raymond Bonilla: Yeah, I'd say. Yeah.

1111
01:18:09.510 --> 01:18:12.300
Dale Stephanos: I'm gonna go to writers. Yeah. Hunter Thompson's top of my list.

1112
01:18:13.110 --> 01:18:13.830
Dale Stephanos: Just watch him.

1113
01:18:14.460 --> 01:18:16.800
Bill Koeb: But you get kicked out of the restaurant.

1114
01:18:17.070 --> 01:18:19.980
Dale Stephanos: Oh, hell yes. That'd be amazing.

1115
01:18:25.980 --> 01:18:32.310
Tim Trabon: I don't know. Dale somebody that can spend that much time with Johnny Depp is is bothers me.

1116
01:18:32.880 --> 01:18:33.240
Dale Stephanos: You know,

1117
01:18:34.590 --> 01:18:35.730
Dale Stephanos: And I was gonna say

1118
01:18:36.360 --> 01:18:39.450
Dale Stephanos: I was going to say, Keith Richards and that guy can hang with Johnny

1119
01:18:39.450 --> 01:18:41.610
Dale Stephanos: Depp, too. So yeah, want you might have children, it's

1120
01:18:41.760 --> 01:18:43.500
Tim Trabon: It's both troublesome because you're like,

1121
01:18:43.560 --> 01:18:45.810
Dale Stephanos: Yeah, how do you tolerate that.

1122
01:18:47.970 --> 01:18:49.620
Raymond Bonilla: You know, I used to be good friends with

1123
01:18:51.000 --> 01:18:52.050
Raymond Bonilla: Neil Young's daughter.

1124
01:18:52.710 --> 01:18:53.430
Dale Stephanos: Oh, no kidding.

1125
01:18:54.000 --> 01:18:54.990
Raymond Bonilla: Yeah, and

1126
01:18:56.310 --> 01:19:04.890
Raymond Bonilla: It's. See, I told me I was like, who's the weirdest first year and then it's like, it's a toss up between David Crosby and Johnny was like

1127
01:19:04.920 --> 01:19:05.160
No.

1128
01:19:06.240 --> 01:19:06.720
Raymond Bonilla: Yeah.

1129
01:19:07.110 --> 01:19:07.410
I

1130
01:19:08.520 --> 01:19:08.970
C. F. Payne: Know,

1131
01:19:10.530 --> 01:19:28.290
Raymond Bonilla: I was like that was a wonderful what's wrong with me. It was like, damn, maybe what she did. I was like a little kid, he would talk about it. Would you know sleep with a grenade under his pillow with a 45 just because you know this, just in case there for protection.

1132
01:19:29.100 --> 01:19:33.270
Dale Stephanos: Right, I got a chance to have dinner with David Crosby less

1133
01:19:33.300 --> 01:19:33.870
No.

1134
01:19:34.950 --> 01:19:35.850
Raymond Bonilla: No way.

1135
01:19:36.060 --> 01:19:37.440
Raymond Bonilla: Yeah, I wasn't. Was it

1136
01:19:37.860 --> 01:19:43.680
Dale Stephanos: Okay, was it was awesome because like I got to be a fly on the wall.

1137
01:19:45.540 --> 01:19:47.520
Dale Stephanos: A friend of mine who's a

1138
01:19:49.320 --> 01:19:53.430
Dale Stephanos: He's a car dealer and he had him as

1139
01:19:54.840 --> 01:20:16.830
Dale Stephanos: His, His, His entertainment for his like his annual dealers. He owns a bunch of dealerships so he he had him as the entertainment for the Christmas party. Right. And all of these guys are like hardcore Trump supporters and David Crosby, you know, of course, David Crosby right

1140
01:20:21.750 --> 01:20:26.160
Dale Stephanos: So it just turned into this incredible rent and, you know,

1141
01:20:27.840 --> 01:20:34.050
Dale Stephanos: They're always trying to be polite and a couple of the guys is they would really handle it anymore. Yeah.

1142
01:20:35.640 --> 01:20:40.890
Dale Stephanos: You know, finally, or anything. The host. He actually said, hey, this is David Crosby.

1143
01:20:42.750 --> 01:20:46.980
Dale Stephanos: He's not gonna like Trump, you know, music and and and deal with it.

1144
01:20:47.970 --> 01:20:50.820
Dale Stephanos: But it was really it was a lot of fun. And he was he was actually really

1145
01:20:50.970 --> 01:20:52.410
Dale Stephanos: Friendly and outgoing and

1146
01:20:54.360 --> 01:21:01.440
Dale Stephanos: You know, aside from the political stuff. It was awesome. It was awesome.

1147
01:21:01.770 --> 01:21:06.630
C. F. Payne: I mean, was the reason why it was they remember they did kick them out of the birds.

1148
01:21:08.820 --> 01:21:10.680
C. F. Payne: They threw him out.

1149
01:21:11.250 --> 01:21:11.730
Dale Stephanos: Oh, yeah.

1150
01:21:12.870 --> 01:21:14.370
Dale Stephanos: I could, I could see why.

1151
01:21:14.460 --> 01:21:15.780
Dale Stephanos: You know, he was he was

1152
01:21:15.900 --> 01:21:19.500
Dale Stephanos: He was, he was, you know, he was fine, but I'm

1153
01:21:19.770 --> 01:21:20.460
Paranoid

1154
01:21:22.470 --> 01:21:28.530
Dale Stephanos: I didn't see the paranoia, but I did see the you know absolutely go at any subject at all as hard as you can.

1155
01:21:30.510 --> 01:21:30.900
Tim Trabon: Actually

1156
01:21:34.650 --> 01:21:36.210
C. F. Payne: Understand the god I'm thinking like the

1157
01:21:36.210 --> 01:21:38.070
C. F. Payne: Government was after. Um, and

1158
01:21:38.430 --> 01:21:39.060
Raymond Bonilla: Well, yeah.

1159
01:21:39.510 --> 01:21:40.740
Dale Stephanos: I think that that might be like

1160
01:21:40.770 --> 01:21:42.840
Dale Stephanos: Cocaine psychosis. Yes. Yeah.

1161
01:21:44.310 --> 01:21:48.990
Tim Trabon: Yeah, I've always wanted to meet Nick Cage and

1162
01:21:49.020 --> 01:21:50.100
Raymond Bonilla: Oh, yeah, yeah.

1163
01:21:52.230 --> 01:21:52.770
Tim Trabon: I was

1164
01:21:53.640 --> 01:21:54.000
Dale Stephanos: Dinner.

1165
01:21:54.450 --> 01:21:57.210
Tim Trabon: Yeah, that'd be it would be, it would be such a great dinner.

1166
01:21:57.630 --> 01:21:59.250
Raymond Bonilla: Maybe you Nick Cage.

1167
01:21:59.370 --> 01:21:59.580
And

1168
01:22:01.860 --> 01:22:02.490
Raymond Bonilla: Andrew I

1169
01:22:04.650 --> 01:22:14.310
Tim Trabon: Know I was listening to an interview with these brother directors. I'm trying to, I'll try and pull up their name, but somebody like what's, what are the like the most interesting actors you've ever

1170
01:22:15.330 --> 01:22:25.530
Tim Trabon: You've ever directed and they were like, hands down, no contest Nick Cage Adrian Brody, because you can't even get them to do the same thing twice.

1171
01:22:27.000 --> 01:22:27.360
Tim Trabon: Every

1172
01:22:28.560 --> 01:22:40.500
Tim Trabon: No, not Coen brothers. I'm there. They're kind of i i think that they as directors kind of had their hot moment they did a couple of really great small films.

1173
01:22:40.620 --> 01:22:46.200
Tim Trabon: Okay, and then they got they got lit to do like some of the superhero films.

1174
01:22:46.980 --> 01:22:47.400
Dale Stephanos: Oh,

1175
01:22:47.490 --> 01:22:55.710
Tim Trabon: I don't remember which ones they did, but they made them really like our policy and people do not like it. I need to. I need to do, get out.

1176
01:22:56.010 --> 01:22:56.490
Raymond Bonilla: That wasn't

1177
01:22:56.880 --> 01:22:57.600
Raymond Bonilla: Very healthy

1178
01:22:57.630 --> 01:23:02.580
Tim Trabon: Not arthouse he they just their, their talent did not translate to like blockbuster

1179
01:23:02.910 --> 01:23:05.670
Raymond Bonilla: That wasn't the Russo brothers right now.

1180
01:23:05.820 --> 01:23:09.120
Tim Trabon: Ryan McAllen yield. It's the directors of gastronomic because that's how they

1181
01:23:10.860 --> 01:23:11.910
Tim Trabon: That's how they went into it.

1182
01:23:12.570 --> 01:23:14.220
Tim Trabon: They're. They're hilarious. They're

1183
01:23:14.220 --> 01:23:17.700
Tim Trabon: Really great directors, they don't work well on a big set

1184
01:23:19.380 --> 01:23:28.980
Tim Trabon: Which I as a as a artist. I thought was really interesting because the interview and I think it plays off of like what a lot of people

1185
01:23:29.730 --> 01:23:44.520
Tim Trabon: Like students might think where it's like, I need as many resources as possible. And I want to be a big name and they basically were like we we did our films that we like, you know, these passion projects of ours had like

1186
01:23:45.630 --> 01:23:48.600
Tim Trabon: Budgets, you know, no budget to speak have

1187
01:23:50.010 --> 01:24:00.240
Tim Trabon: Had a blast made something really great. And then they're like, and then our dreams come true. We get to do this massive huge production film. And they're like, it's horrible.

1188
01:24:00.750 --> 01:24:11.160
Tim Trabon: Because you lose control like you can't like it's overwhelming and it was really interesting because it seems like that that they've pedaled back to doing smaller stuff.

1189
01:24:13.320 --> 01:24:20.970
Tim Trabon: But, uh, yeah. Like the two plus two plus brothers are kind of like that too as filmmakers. I mean, I think that probably translates to a lot of stuff there.

1190
01:24:21.090 --> 01:24:23.970
Raymond Bonilla: Oh yeah, I mean look at David Lynch. Yeah.

1191
01:24:24.210 --> 01:24:24.600
Tim Trabon: Yeah.

1192
01:24:24.690 --> 01:24:27.870
Dale Stephanos: Oh my god yeah was June.

1193
01:24:28.770 --> 01:24:32.010
Raymond Bonilla: Thought you would have thought doing would have been perfect for him right i mean

1194
01:24:32.130 --> 01:24:39.210
Raymond Bonilla: Yeah, we really would have thought that, you know, and he admitted he was like, I guess they just gave me too much money.

1195
01:24:42.780 --> 01:24:48.840
Raymond Bonilla: Which, by the way, I'm looking forward to the new one. But that's because I'm a huge fan of dentists really why man.

1196
01:24:49.470 --> 01:24:51.750
Dale Stephanos: I thought you were gonna say you were looking forward to all the money.

1197
01:24:52.050 --> 01:24:53.160
Raymond Bonilla: You're both all the money.

1198
01:24:55.980 --> 01:24:58.590
Bill Koeb: I kind of blow hot and cold with his movies.

1199
01:24:59.910 --> 01:25:05.940
Raymond Bonilla: Or guys you know I'm gonna be honest, I've only seen. I haven't seen a rival and I've only seen actually

1200
01:25:08.610 --> 01:25:09.210
Raymond Bonilla: A Blade Runner.

1201
01:25:09.780 --> 01:25:10.470
Bill Koeb: Oh, I

1202
01:25:10.530 --> 01:25:10.950
Raymond Bonilla: Thought I

1203
01:25:11.430 --> 01:25:15.450
Bill Koeb: Really liked arrival, but I really hated rival

1204
01:25:17.100 --> 01:25:17.400
Tim Trabon: Sorry.

1205
01:25:18.660 --> 01:25:19.530
Raymond Bonilla: You hated what

1206
01:25:19.770 --> 01:25:20.430
Enemy

1207
01:25:22.530 --> 01:25:24.390
Raymond Bonilla: Enemy oh yeah

1208
01:25:24.540 --> 01:25:25.080
Raymond Bonilla: I haven't

1209
01:25:25.620 --> 01:25:28.200
Tim Trabon: With a Jake Jake Gyllenhaal

1210
01:25:28.530 --> 01:25:29.250
Bill Koeb: Well, yeah.

1211
01:25:29.670 --> 01:25:30.420
No, that one.

1212
01:25:33.690 --> 01:25:34.380
Tim Trabon: It wasn't as

1213
01:25:35.940 --> 01:25:39.900
Tim Trabon: It wasn't as that popcorn. I'd say as arrival

1214
01:25:40.920 --> 01:25:44.400
Bill Koeb: Yeah, I don't know, I just found that movie really misogynistic

1215
01:25:45.960 --> 01:25:46.860
Tim Trabon: I didn't see it.

1216
01:25:47.220 --> 01:25:48.750
Bill Koeb: Oh, you haven't seen it now.

1217
01:25:50.190 --> 01:25:54.570
Bill Koeb: I'm not a real I kind of got soured on Jake Gyllenhaal too.

1218
01:25:59.760 --> 01:26:02.010
Raymond Bonilla: Well, now we know why on update your Brody

1219
01:26:03.480 --> 01:26:09.750
Bill Koeb: Have you seen I tried to watch one Jake Gyllenhaal movie was about these two cops in LA.

1220
01:26:13.170 --> 01:26:14.430
Raymond Bonilla: Now let's be cops right

1221
01:26:14.760 --> 01:26:15.450
No.

1222
01:26:20.190 --> 01:26:23.550
Bill Koeb: Oh, yeah, yeah. I can't take it.

1223
01:26:26.010 --> 01:26:26.250
Don Kilpatrick III: The

1224
01:26:26.340 --> 01:26:27.300
Tim Trabon: End of watch

1225
01:26:27.480 --> 01:26:27.900
The other

1226
01:26:29.430 --> 01:26:31.410
Tim Trabon: End of watch Pena

1227
01:26:32.220 --> 01:26:32.730
Yeah.

1228
01:26:33.990 --> 01:26:40.410
Bill Koeb: Yeah, and it just, I got about 15 minutes into it.

1229
01:26:41.670 --> 01:26:42.900
Bill Koeb: And I had to stop watching it.

1230
01:26:43.110 --> 01:26:44.580
Tim Trabon: loved it. I loved it.

1231
01:26:47.430 --> 01:26:48.420
Tim Trabon: I loved it, though.

1232
01:26:50.190 --> 01:26:50.550
Tim Trabon: Did

1233
01:26:51.630 --> 01:26:53.070
Don Kilpatrick III: You going to talk about the other guys.

1234
01:26:54.090 --> 01:26:55.260
Bill Koeb: Talking about the other guys.

1235
01:26:55.680 --> 01:26:56.580
Tim Trabon: The other guys.

1236
01:27:00.510 --> 01:27:08.610
Tim Trabon: The other guys me, Indiana, we're gonna watch a movie. This is like a couple years ago. We're gonna watch movie and we're like Will Ferrell movie Mark Wahlberg. All right.

1237
01:27:09.030 --> 01:27:16.710
Tim Trabon: I was like, you haven't seen this. She's like, now we get, like, an hour and a half into it. So it's like basically over and she goes, I think I have seen this.

1238
01:27:18.660 --> 01:27:21.390
Tim Trabon: It's like why why did we just do this.

1239
01:27:22.770 --> 01:27:24.240
Dale Stephanos: We ever done that with books.

1240
01:27:25.350 --> 01:27:25.800
Tim Trabon: Man.

1241
01:27:27.990 --> 01:27:30.660
Dale Stephanos: Yeah. Yep. Yeah.

1242
01:27:32.520 --> 01:27:40.800
Don Kilpatrick III: The other guys was the first two minutes were semi little Jackson and the rocker decided to chase the bad guy and then they

1243
01:27:42.030 --> 01:27:42.540
Raymond Bonilla: Were on the

1244
01:27:42.900 --> 01:27:46.530
Raymond Bonilla: If you go to Netflix Netflix, they are on the thumbnail are

1245
01:27:49.560 --> 01:27:50.160
Raymond Bonilla: Featuring

1246
01:27:50.610 --> 01:27:58.350
Don Kilpatrick III: This part is hilarious. Like, all you gotta do is watch that, you know, watch the scene from start to finish, where they jump off the building and

1247
01:27:59.640 --> 01:28:00.270
Don Kilpatrick III: Movies over

1248
01:28:00.570 --> 01:28:10.380
Tim Trabon: Mega Ray, Ray. Can you imagine being will your Will Ferrell and you're going through your Netflix and you see your movie with the rock.

1249
01:28:10.470 --> 01:28:10.770
Tim Trabon: On the

1250
01:28:11.490 --> 01:28:19.050
Raymond Bonilla: Great star Dwayne The Rock Johnson and so I I tapped on that thinking like, when have those two been in a

1251
01:28:19.050 --> 01:28:27.570
Raymond Bonilla: Movie together picking like, Well, I've heard of the other guys this is this is last week I've heard of the other guys but like what

1252
01:28:28.410 --> 01:28:32.100
Raymond Bonilla: And then I and I see. And then all of a sudden like they they're dead spoiler.

1253
01:28:32.100 --> 01:28:37.500
Raymond Bonilla: Alert W know if I ruin the movie for you. Don't worry. I did you a favor.

1254
01:28:37.740 --> 01:28:41.100
Raymond Bonilla: And there. Will Ferrell and like Mark Wahlberg. And I'm like, oh my god.

1255
01:28:41.160 --> 01:28:42.780
This is so disappointed.

1256
01:28:48.360 --> 01:28:51.060
Tim Trabon: I, I'm going to say something topical. I don't like the rock.

1257
01:28:55.200 --> 01:29:00.240
Tim Trabon: Rock the film. I mean, that's why I mean that's the chef. That is the chef's kiss.

1258
01:29:00.330 --> 01:29:00.960
Of nickname.

1259
01:29:02.880 --> 01:29:03.210
Raymond Bonilla: But you

1260
01:29:06.810 --> 01:29:07.260
Tim Trabon: Know,

1261
01:29:10.920 --> 01:29:11.670
Raymond Bonilla: Oh, Duane

1262
01:29:12.660 --> 01:29:16.500
Tim Trabon: So, Bill, why don't we talk about what your money. Tell us about what you're drawn

1263
01:29:17.760 --> 01:29:19.440
Bill Koeb: To this can be like some way

1264
01:29:19.680 --> 01:29:21.210
Tim Trabon: Somewhat art themed

1265
01:29:24.090 --> 01:29:26.940
Bill Koeb: Yeah, I mean, I'm just drawing with a piece of

1266
01:29:27.270 --> 01:29:34.350
Bill Koeb: Yeah, here, and I started with her arm and I worked my way

1267
01:29:34.740 --> 01:29:36.420
Bill Koeb: Up around the

1268
01:29:38.790 --> 01:29:44.160
Bill Koeb: I just, I kind of got into the motion. I mean, some of the proportions are different than the than the photo.

1269
01:29:47.310 --> 01:29:49.860
Bill Koeb: It's an action shot. So I just tried to

1270
01:29:51.360 --> 01:29:58.860
Bill Koeb: Get, get the action into it. Plus, it's also very dirty medium. So I'm gonna say going with an eraser or with a white

1271
01:30:00.390 --> 01:30:05.070
Bill Koeb: pastel or something, you know, the marks are there to stay. So you can see all my mistakes.

1272
01:30:07.170 --> 01:30:07.800
Bill Koeb: Which

1273
01:30:09.120 --> 01:30:10.110
Bill Koeb: Is not a bad thing.

1274
01:30:13.470 --> 01:30:14.100
Bill Koeb: And

1275
01:30:14.970 --> 01:30:17.010
Raymond Bonilla: And are the mistakes of good, looks right, right.

1276
01:30:19.140 --> 01:30:22.980
Bill Koeb: There if they look right there. Will hidden mistakes. Yeah.

1277
01:30:25.890 --> 01:30:36.960
Bill Koeb: But you know, I think that that's also part of the process of making a thing, you know, a friend of mine was was doing the job today she does vehicle wraps and install signs and stuff.

1278
01:30:37.590 --> 01:30:52.770
Bill Koeb: And she was nervous because she thought people were going to the people that work there. We're going to see her do it. I'm like, Well, every job. We've done I've helped her out on some like we've screwed it up and then we fixed it. And it's been fine. And that's kind of the

1279
01:30:54.990 --> 01:31:01.050
Bill Koeb: I think that's kind of the thing we all sort of face somewhere on camera here is we think that we don't want to show

1280
01:31:03.630 --> 01:31:08.520
Bill Koeb: The mistakes that we make, or how bad it is, or whatever. And I think that

1281
01:31:09.810 --> 01:31:12.810
Bill Koeb: Very much the mistakes are part of the process because

1282
01:31:14.940 --> 01:31:17.250
John English: Bill, I'm not finding this very company so

1283
01:31:19.590 --> 01:31:21.180
Dale Stephanos: For some of us more than others. Fill

1284
01:31:24.810 --> 01:31:27.030
John English: A bill. I have a story I want to tell, just for you.

1285
01:31:29.010 --> 01:31:29.880
John English: Seriously, I do.

1286
01:31:31.170 --> 01:31:35.400
John English: And Chris, I don't know if you'll remember some of this quick so there's

1287
01:31:35.730 --> 01:31:37.830
Bill Koeb: There's that. Go ahead and tell your story, cuz

1288
01:31:39.210 --> 01:31:40.200
John English: Take another couple

1289
01:31:41.520 --> 01:31:42.000
Bill Koeb: Yeah.

1290
01:31:43.350 --> 01:31:47.550
John English: Let me do this first because I shouldn't have done this earlier and

1291
01:31:48.780 --> 01:31:53.430
John English: It's great that race here, I am going to grab the screen share real quickly.

1292
01:31:55.320 --> 01:31:56.160
And

1293
01:31:58.110 --> 01:31:58.950
Maybe I'm not

1294
01:32:00.000 --> 01:32:00.540
Yeah.

1295
01:32:02.490 --> 01:32:04.050
John English: I'm going to bounce back to this.

1296
01:32:05.820 --> 01:32:14.010
John English: And I am going to bring up these four classes that that we're offering that start in the middle of November.

1297
01:32:15.150 --> 01:32:21.300
John English: And one of them is the great Raven. He is teaching ahead painting class.

1298
01:32:21.690 --> 01:32:22.560
Bill Koeb: Awesome.

1299
01:32:22.710 --> 01:32:34.650
John English: And I'm really excited about that. It's a five week course and it's called from paint to pixel and it's I, you know, right, I mean, you can say a couple of quick words about it if you want.

1300
01:32:34.920 --> 01:32:44.850
Raymond Bonilla: Yeah, I would love to. I mean, it's a huge honor to be teaching a class visual arts passage and I'm really excited about this, the class itself is

1301
01:32:46.170 --> 01:32:46.950
Raymond Bonilla: Basically

1302
01:32:48.480 --> 01:32:51.930
Raymond Bonilla: Approaches to painting the head and

1303
01:32:53.520 --> 01:32:57.630
Raymond Bonilla: covering both traditional and digital and we talked about

1304
01:32:59.040 --> 01:33:04.590
Raymond Bonilla: You know how to go about bridging that gap and how really that gap is almost non existent.

1305
01:33:05.970 --> 01:33:11.970
Raymond Bonilla: And you know, we go over a lot of process, you know, be doing a lot of demos, a lot of

1306
01:33:13.500 --> 01:33:15.540
Raymond Bonilla: You know, work overs of your work and

1307
01:33:17.010 --> 01:33:23.850
Raymond Bonilla: You know, touching on tons of things about that looking at art history of course and and

1308
01:33:24.900 --> 01:33:42.150
Raymond Bonilla: Also integrating the idea of the head into storytelling and you know how to go about doing that because you probably notice just from the panelists like you doing a likenesses. This is a good skill to have. And something that will come up in a variety of

1309
01:33:43.500 --> 01:33:46.200
Raymond Bonilla: Types of work. So yeah, I'm

1310
01:33:47.310 --> 01:33:50.850
Raymond Bonilla: Super excited. I'm looking forward to working with those everyone that signed up.

1311
01:33:51.300 --> 01:33:59.370
John English: And we are we are really looking forward to it. I'm excited about it. The other, the other classes, we're offering is Brett watkinson teaches a color theory class.

1312
01:34:00.240 --> 01:34:12.600
John English: Is about applying color learning color for application, which is absolutely astounding in class. He does it better than anybody I've seen before and

1313
01:34:13.680 --> 01:34:15.120
John English: Then we're doing I'm teaching

1314
01:34:17.160 --> 01:34:24.210
John English: I'm teaching our normal foundations class which we have which is for people that aren't feel like there aren't prepared to start in our program.

1315
01:34:24.630 --> 01:34:34.860
John English: It gets them prepared to start either in the first course of the illustration process skill and craft or in the first course of concept art. It teaches you what you need to know to get started.

1316
01:34:36.030 --> 01:34:40.620
John English: And then I'm also teaching us for the first time in that in that program. Anyway, I'm teaching

1317
01:34:41.130 --> 01:34:52.770
John English: The Academy drawing style Academy drawing techniques that we teach at the illustration Academy for figure. So we got four really cool classes kicking off in the middle of November, and

1318
01:34:53.640 --> 01:35:06.180
John English: Any interest, but check out, check them out and then or reach out to us and also we're still doing I'm going portfolio reviews. If anybody has interested in getting their work looked at and talk about

1319
01:35:07.410 --> 01:35:15.390
John English: Entering the industry or how to develop please reach out to us and we'll be happy to do that for you. That's it. Thank you.

1320
01:35:15.420 --> 01:35:16.470
Raymond Bonilla: For listening to. Awesome.

1321
01:35:17.400 --> 01:35:17.910
And then

1322
01:35:19.320 --> 01:35:23.820
John English: we'll segue back to Don Kilpatrick time

1323
01:35:24.090 --> 01:35:32.310
Tim Trabon: Girl Yeah. And as I do a tour the room. I'm going to recommend everybody that's joining us tonight. Be sure to share your work on

1324
01:35:32.880 --> 01:35:36.840
Tim Trabon: Now we want to see it, we're gonna we're gonna look at all the work that has been posted

1325
01:35:37.800 --> 01:35:56.460
Tim Trabon: Later tonight before we close up after this. This last post and we want to see it. So you can, if you're looking at the reference photography on our website backslash photos. You'll see just post it to Instagram or the Facebook group use hashtag illustration isolation and

1326
01:35:57.510 --> 01:36:01.650
Tim Trabon: You'll notice I coded a very simple click to copy

1327
01:36:02.700 --> 01:36:05.760
Click the copy at the bottom of the page. So you can grab the tags.

1328
01:36:07.500 --> 01:36:08.820
Tim Trabon: But yeah, we want to see your work.

1329
01:36:10.200 --> 01:36:10.860
John English: Thank you to me.

1330
01:36:12.150 --> 01:36:14.760
C. F. Payne: And when I fade. I may had out but

1331
01:36:15.780 --> 01:36:16.200
John English: Thank you.

1332
01:36:17.760 --> 01:36:18.900
John English: Thank you so much, man.

1333
01:36:19.170 --> 01:36:19.710
John English: Appreciate it.

1334
01:36:20.670 --> 01:36:21.600
Bill Koeb: Into sacred

1335
01:36:22.380 --> 01:36:23.220
C. F. Payne: Holy guys

1336
01:36:23.550 --> 01:36:28.800
Tim Trabon: Hey Chris, we'd like to see before you leave. Let's I'm wearing your studio

1337
01:36:29.280 --> 01:36:30.690
Bill Koeb: Okay, that's awesome.

1338
01:36:31.050 --> 01:36:33.450
Raymond Bonilla: Now you can't leave if we have the camera on you, Chris.

1339
01:36:34.800 --> 01:36:35.700
John English: Against the rules.

1340
01:36:35.940 --> 01:36:37.050
Raymond Bonilla: It's against the rules.

1341
01:36:37.080 --> 01:36:37.770
Next, great.

1342
01:36:40.860 --> 01:36:42.060
C. F. Payne: Great gesture. Love it.

1343
01:36:43.320 --> 01:36:43.830
John English: Beautiful.

1344
01:36:44.430 --> 01:36:44.910
C. F. Payne: Make you

1345
01:36:47.340 --> 01:36:50.130
Bill Koeb: Damn right. Yeah. That's awesome.

1346
01:36:51.450 --> 01:36:51.750
Raymond Bonilla: Awesome.

1347
01:36:56.850 --> 01:36:57.330
Don Kilpatrick III: Well,

1348
01:36:59.670 --> 01:37:05.580
Don Kilpatrick III: There's a backlit athlete. I think that could be could be interesting. I think I'll go for that.

1349
01:37:06.600 --> 01:37:11.070
Tim Trabon: I john remember when you guys chose all the photos.

1350
01:37:12.780 --> 01:37:13.830
John English: Why don't what he's drawing

1351
01:37:15.030 --> 01:37:15.870
Tim Trabon: Well, no.

1352
01:37:15.960 --> 01:37:19.560
John English: You're no no i i biologists because you weren't in the rare.

1353
01:37:19.650 --> 01:37:21.300
John English: We've already selected it for you.

1354
01:37:22.290 --> 01:37:27.960
Don Kilpatrick III: Is definitely number one, right. The backlit. One is that no okay

1355
01:37:28.950 --> 01:37:29.700
John English: It's the

1356
01:37:30.780 --> 01:37:32.040
John English: Woman with a head down.

1357
01:37:32.700 --> 01:37:33.120
Don Kilpatrick III: Yeah.

1358
01:37:33.690 --> 01:37:35.340
Raymond Bonilla: Uh huh. Yes, they never went back to

1359
01:37:35.760 --> 01:37:36.630
Raymond Bonilla: My yellow shirt.

1360
01:37:36.960 --> 01:37:40.140
Tim Trabon: You know, you're talking about two photos very similar poses.

1361
01:37:41.280 --> 01:37:41.910
Don Kilpatrick III: Okay.

1362
01:37:42.420 --> 01:37:46.170
Tim Trabon: This one, this is a brunette. She's wearing a to sports bra.

1363
01:37:47.190 --> 01:37:49.770
John English: That's it. No posted the wrong one.

1364
01:37:49.800 --> 01:37:56.310
John English: Timmy I I chose I chose the yellow one, but that's okay. It doesn't matter. We'll do either one, they're both good

1365
01:37:57.510 --> 01:37:58.110
Raymond Bonilla: Oh, yeah.

1366
01:37:59.190 --> 01:38:00.090
Raymond Bonilla: On the website. Oh.

1367
01:38:00.210 --> 01:38:00.690
Tim Trabon: I did it.

1368
01:38:00.750 --> 01:38:02.100
John English: The yellow ones on the website.

1369
01:38:02.460 --> 01:38:02.910
Yeah.

1370
01:38:05.370 --> 01:38:06.030
Don Kilpatrick III: Yeah.

1371
01:38:07.140 --> 01:38:07.620
Don Kilpatrick III: Okay.

1372
01:38:08.400 --> 01:38:09.870
Tim Trabon: Oh, we have five images on the way.

1373
01:38:09.900 --> 01:38:12.300
Bill Koeb: Down, we're going to tell you a story about drawing or no.

1374
01:38:12.450 --> 01:38:17.970
John English: I'm going to tell your story I'm going to tell a story that and I kind of wish Chris was here for it, but it's okay.

1375
01:38:19.140 --> 01:38:25.530
John English: Have a real thing that happened about a dinner. Oh, but it was actually a lunch and invited involved.

1376
01:38:30.630 --> 01:38:33.360
John English: Yeah, maybe I shouldn't tell a story I've been working too hard today.

1377
01:38:36.630 --> 01:38:40.950
John English: Oh my god, I can't believe I can't, I'm still struggling with his name, of all people,

1378
01:38:42.030 --> 01:38:43.650
Tim Trabon: Here I'm going to do a tour of the room.

1379
01:38:43.860 --> 01:38:45.090
John English: Okay, do that, and I'll come

1380
01:38:45.150 --> 01:38:46.680
Tim Trabon: Out for money. Yeah, yeah.

1381
01:38:52.140 --> 01:38:52.920
Dale Stephanos: That's great.

1382
01:38:53.790 --> 01:38:56.130
John English: Who's, who's one of your heroes bill with

1383
01:38:57.420 --> 01:39:00.300
John English: All this great great sketchbooks I can't I'm terrible. I can't

1384
01:39:00.510 --> 01:39:02.580
Bill Koeb: waver story.

1385
01:39:02.640 --> 01:39:03.660
John English: Her story and I

1386
01:39:03.840 --> 01:39:04.890
Think the barons name. That's all.

1387
01:39:06.450 --> 01:39:07.770
John English: I've been working really hard today.

1388
01:39:07.920 --> 01:39:13.710
Bill Koeb: It's funny that you said that because I was thinking that you're going to say Baron, but that just seemed like the obvious.

1389
01:39:14.250 --> 01:39:16.350
John English: Answer. Okay, so we're in Florida.

1390
01:39:17.460 --> 01:39:22.020
John English: We were in Florida. And remember, this was just a few years after the hanging chad

1391
01:39:23.100 --> 01:39:24.420
John English: And the

1392
01:39:25.860 --> 01:39:26.640
John English: Head of

1393
01:39:28.500 --> 01:39:33.090
John English: Secretary of State during the hanging chad was a woman by the name of Catherine Harris.

1394
01:39:33.480 --> 01:39:33.900
Don Kilpatrick III: Yeah.

1395
01:39:34.200 --> 01:39:39.930
John English: And they wrote the movies about herself. She came to the illustration Academy. She actually took the program twice.

1396
01:39:40.110 --> 01:39:45.690
John English: Wow, we all got to know Catherine really well, but she was Katherine Harris.

1397
01:39:45.750 --> 01:39:53.430
John English: I mean, she was definitely very, you know, very staunch republican very, very opinionated.

1398
01:39:54.390 --> 01:39:56.460
Tim Trabon: Are we going to get sued for this story john well

1399
01:39:56.520 --> 01:40:00.750
John English: We're not. This is. She's a friend and she's very she's a very, very nice.

1400
01:40:00.750 --> 01:40:01.110
Person.

1401
01:40:02.820 --> 01:40:14.670
John English: But we, she was. She's also extremely wealthy and she always would do really nice things for us, she would take us out to these great lunches and dinners and

1402
01:40:16.800 --> 01:40:19.590
John English: Have the heart to tell Baron who she was.

1403
01:40:21.450 --> 01:40:30.060
John English: And he didn't put two and two together. And so she takes us to her country club and we have this incredible lunch and he's having a great car. She said, He's sitting next to her.

1404
01:40:31.650 --> 01:40:33.090
John English: Having this great conversation.

1405
01:40:34.320 --> 01:40:34.680
John English: And we

1406
01:40:34.770 --> 01:40:37.140
John English: Lunch over with. We're saying goodbye and

1407
01:40:37.470 --> 01:40:55.080
John English: You get in, get in the car Baron was driving and we get into this convertible the imprint George and I are in the backseat, and George and I are giggling about the whole thing. And he's like, what's fun. So George tells him who it was. And we're trying to get about 65 on a highway.

1408
01:40:57.390 --> 01:41:15.540
John English: Breaks I mean just hits his brakes ladies slams the card comes to us, halting stop and he pulls over and he's like, what, and then it all came in and he remembered you know he started thinking about what they talked about. He started this whole thing.

1409
01:41:17.040 --> 01:41:33.390
John English: I thought I've never talked to bear and again after that. And I was just really nice about it and he was actually very polite and very friendly about it, but he felt he had never been more surprised in his life that he had actually sat and just had lunch with Catherine Harris, which

1410
01:41:33.450 --> 01:41:37.170
John English: Is the antithesis of his point of view of politics.

1411
01:41:37.260 --> 01:41:43.290
Tim Trabon: Right. So for those of you in the crowd who don't remember world without iPads.

1412
01:41:45.690 --> 01:41:48.030
Tim Trabon: When everything was done on paper.

1413
01:41:48.540 --> 01:41:49.050
John English: That's right.

1414
01:41:49.650 --> 01:41:50.850
Raymond Bonilla: It was a dark time

1415
01:41:51.480 --> 01:41:52.680
It was dark time

1416
01:41:54.360 --> 01:41:56.790
Bill Koeb: Well, hanging chads went on forever.

1417
01:41:56.970 --> 01:42:01.080
Bill Koeb: Yeah. Remember, God. It was like, but that's

1418
01:42:01.140 --> 01:42:03.210
John English: What she was the woman who made the decision.

1419
01:42:03.930 --> 01:42:05.700
Bill Koeb: It's a good thing. He didn't know at the

1420
01:42:05.700 --> 01:42:08.100
Tim Trabon: People there are there are a handful of people.

1421
01:42:08.130 --> 01:42:17.670
Tim Trabon: More than a handful of people right now who are just barely piece in this story together with with the limited information they have about what is the hanging chad

1422
01:42:18.000 --> 01:42:18.990
Raymond Bonilla: I say it starts

1423
01:42:19.020 --> 01:42:20.940
Raymond Bonilla: It starts with a little story.

1424
01:42:23.160 --> 01:42:23.760
A guy.

1425
01:42:24.810 --> 01:42:27.840
Raymond Bonilla: With it with a small bakery shop on her name, Chad.

1426
01:42:29.520 --> 01:42:29.940
Raymond Bonilla: Was this

1427
01:42:30.780 --> 01:42:31.470
John English: guy's name.

1428
01:42:34.140 --> 01:42:35.550
John English: Name Alan George

1429
01:42:37.980 --> 01:42:40.680
John English: Little disagreement and who won the election. Right.

1430
01:42:43.170 --> 01:42:45.150
Bill Koeb: John it's probably better. He didn't know

1431
01:42:45.210 --> 01:42:47.010
Bill Koeb: Oh absolutely because

1432
01:42:47.670 --> 01:42:48.090
You

1433
01:42:49.560 --> 01:42:52.410
John English: Give me a little credit. I mean, there was a reason I didn't tell him.

1434
01:42:52.800 --> 01:42:54.960
Bill Koeb: Oh god, yeah. Oh, yeah.

1435
01:42:55.230 --> 01:43:09.060
John English: And I didn't. And he showed up. I didn't expect him to be there and he just shows up, you know, and we're like, I mean I expected him to come in later that day yeah you and Petra show up early and I'm like, Okay, why do you want to go to lunch with us and

1436
01:43:11.010 --> 01:43:12.960
John English: He kept saying, What a nice lady.

1437
01:43:16.410 --> 01:43:18.690
John English: Nice lunch. And then she was a very nice.

1438
01:43:18.750 --> 01:43:20.610
Tim Trabon: She's a very cheap decide on the place to

1439
01:43:20.910 --> 01:43:21.810
John English: Was her country club.

1440
01:43:23.220 --> 01:43:24.060
John English: So, and

1441
01:43:24.120 --> 01:43:25.440
Out of the name. It's a joke.

1442
01:43:26.520 --> 01:43:26.940
John English: Okay.

1443
01:43:31.440 --> 01:43:32.700
Tim Trabon: Sarah has a question.

1444
01:43:34.740 --> 01:43:38.040
Tim Trabon: I am I am think thank you so much, sir.

1445
01:43:40.230 --> 01:43:42.330
Tim Trabon: Hey guys I am new to digital

1446
01:43:42.360 --> 01:43:45.090
Tim Trabon: What program is the artist using now to make this

1447
01:43:45.180 --> 01:43:47.850
Don Kilpatrick III: Oh, I'm used to procreate and

1448
01:43:48.690 --> 01:43:52.290
Don Kilpatrick III: I need to update it, but I'm using a pretty new version of it.

1449
01:43:53.850 --> 01:44:04.530
Don Kilpatrick III: And what I like what I like it. It's just kind of intuitive I there's, I don't know what, what, if any, what anybody else thinks, but for me I like going between this and Photoshop.

1450
01:44:05.400 --> 01:44:18.390
Don Kilpatrick III: Sometimes I just prefer working in Photoshop. But this is kind of nice because I it eliminates a lot of the extra bells and whistles that I feel like more I'm working, you know, I know I'm pushing pixels, but I feel like I'm using more of my traditional media.

1451
01:44:19.470 --> 01:44:19.800
Don Kilpatrick III: You know,

1452
01:44:19.950 --> 01:44:21.090
Tim Trabon: Hey Ashley's here.

1453
01:44:22.380 --> 01:44:23.580
Raymond Bonilla: What actually

1454
01:44:23.580 --> 01:44:24.210
Tim Trabon: snuck in.

1455
01:44:28.830 --> 01:44:30.390
Raymond Bonilla: Ashley, thank goodness you're here.

1456
01:44:31.650 --> 01:44:34.770
John English: You're gonna actually. I mean, how close are you

1457
01:44:35.970 --> 01:44:39.390
Ashly Lovett: Have two weeks, like we had your sound today and

1458
01:44:39.930 --> 01:44:41.370
Ashly Lovett: We're probably going to go

1459
01:44:41.910 --> 01:44:51.540
Ashly Lovett: In the inducing route and that'll be in two weeks, we'll see on my next ultrasound. But yeah, today was kind of a freakout day of okay it's real.

1460
01:44:54.360 --> 01:44:55.800
Ashly Lovett: But I wanted to

1461
01:44:56.850 --> 01:44:58.620
Ashly Lovett: Watch everyone draw tonight.

1462
01:44:59.670 --> 01:45:01.350
Ashly Lovett: Why on the wall and listening in.

1463
01:45:02.760 --> 01:45:05.310
Raymond Bonilla: My head as you were listening. I hope it was needed.

1464
01:45:07.170 --> 01:45:11.340
Tim Trabon: We needed somebody to help. We need, we always need somebody to help break up the boys saying

1465
01:45:11.790 --> 01:45:11.910
A

1466
01:45:13.230 --> 01:45:15.750
Don Kilpatrick III: Lot of information about the other guy. Yeah.

1467
01:45:17.550 --> 01:45:19.980
John English: Trying to induce she thought the conversation with

1468
01:45:22.800 --> 01:45:23.100
Ashly Lovett: Now,

1469
01:45:24.390 --> 01:45:25.350
Ashly Lovett: What are your thoughts.

1470
01:45:28.500 --> 01:45:32.490
Bill Koeb: Try harder and sure that we can induce

1471
01:45:34.530 --> 01:45:34.950
Ashly Lovett: Yeah.

1472
01:45:35.100 --> 01:45:37.980
Bill Koeb: The three wide in the conversation. A few. Yeah.

1473
01:45:38.400 --> 01:45:39.390
Raymond Bonilla: Yeah, we can get

1474
01:45:39.960 --> 01:45:40.230
John English: Let's

1475
01:45:40.470 --> 01:45:42.000
Raymond Bonilla: Get down to break out in song.

1476
01:45:42.870 --> 01:45:44.760
Don Kilpatrick III: That, oh yeah, I'll sing a solo for everybody.

1477
01:45:44.790 --> 01:45:47.220
Ashly Lovett: Just make a list of possibilities.

1478
01:45:49.950 --> 01:45:50.400
Don Kilpatrick III: Timmy.

1479
01:45:51.630 --> 01:45:56.130
Bill Koeb: When we talk about old school, you know, and like what's old school and what's new and stuff.

1480
01:45:57.450 --> 01:46:00.720
Bill Koeb: It was about 30 years ago that I started using Photoshop.

1481
01:46:01.890 --> 01:46:02.580
Don Kilpatrick III: Oh, wow.

1482
01:46:03.030 --> 01:46:03.690
John English: Me too.

1483
01:46:04.170 --> 01:46:05.880
Bill Koeb: Yeah, yeah. So use

1484
01:46:05.880 --> 01:46:09.420
John English: It for about a month and then I never I didn't touch it for another 30 years

1485
01:46:10.200 --> 01:46:13.110
Don Kilpatrick III: Are you guys thinking like, is it like 9095 or

1486
01:46:13.200 --> 01:46:15.780
Bill Koeb: No 91 1991

1487
01:46:16.230 --> 01:46:16.740
Wow.

1488
01:46:19.020 --> 01:46:19.650
Bill Koeb: Yeah.

1489
01:46:20.790 --> 01:46:21.840
Dale Stephanos: So the first version.

1490
01:46:22.380 --> 01:46:24.480
Bill Koeb: Yeah, the first or second version.

1491
01:46:24.840 --> 01:46:27.690
Dale Stephanos: I started with Photoshop to like create layers.

1492
01:46:28.020 --> 01:46:29.700
Raymond Bonilla: Yes. Wow.

1493
01:46:29.940 --> 01:46:33.750
John English: The last four point or 3.4 4.0 it's when they

1494
01:46:33.750 --> 01:46:34.470
John English: Brought like present

1495
01:46:35.220 --> 01:46:39.990
Don Kilpatrick III: Yeah, that's where 95 is when when they were you know 9596

1496
01:46:41.370 --> 01:46:46.440
Tim Trabon: So you guys picked it up before there was a verb to to explain what you were doing.

1497
01:46:46.920 --> 01:46:53.970
Tim Trabon: Right. He. Yeah, the thing on a computer with it. Nobody gets said Photoshopped.

1498
01:46:55.290 --> 01:46:57.240
Bill Koeb: It was called. It was called airbrushing

1499
01:46:57.660 --> 01:46:58.830
Don Kilpatrick III: Computer graphics

1500
01:46:58.950 --> 01:47:01.110
Tim Trabon: Yep. He computer graphics

1501
01:47:01.800 --> 01:47:02.400
For us.

1502
01:47:04.530 --> 01:47:05.280
John English: Okay, so

1503
01:47:05.520 --> 01:47:14.880
John English: Use computer. So Don and AND I GUESS EVERYBODY ELSE THAT ARE YOU YOU ALWAYS realized that I'm not much of a digital guy, but the

1504
01:47:15.510 --> 01:47:28.230
John English: Back then I took the time Brett helped me a time I learned from students at the Art Institute, and I actually did a piece on the cover of PC Magazine, a digital piece that ran on

1505
01:47:28.320 --> 01:47:29.310
Raymond Bonilla: No way.

1506
01:47:29.580 --> 01:47:30.720
Don Kilpatrick III: Yes, that was

1507
01:47:32.700 --> 01:47:34.380
On the topic of fraud.

1508
01:47:36.030 --> 01:47:39.600
Don Kilpatrick III: That the bug image because I think you were working on that around the time I started in the

1509
01:47:39.600 --> 01:47:46.860
John English: Account that was that I got that because of that piece that was actually that was that ended up in ca that's actually

1510
01:47:47.190 --> 01:47:47.700
Don Kilpatrick III: Yeah, I

1511
01:47:47.850 --> 01:47:54.270
Don Kilpatrick III: Understand it that I mean I saw your other work, but I was like oh my gosh this is completely different than when I saw this do

1512
01:47:55.710 --> 01:47:56.220
Bill Koeb: Before

1513
01:47:56.670 --> 01:48:00.780
John English: It was it was this article, I'm working digitally, and I

1514
01:48:01.860 --> 01:48:02.550
John English: Did they actually

1515
01:48:03.900 --> 01:48:05.040
John English: They bought my first Mac.

1516
01:48:05.550 --> 01:48:06.390
Raymond Bonilla: You're kidding.

1517
01:48:07.290 --> 01:48:09.360
Raymond Bonilla: That's my PC Magazine had money.

1518
01:48:09.480 --> 01:48:10.110
John English: They had money.

1519
01:48:10.740 --> 01:48:11.130
Raymond Bonilla: Those things

1520
01:48:13.230 --> 01:48:15.600
Raymond Bonilla: Oh man, I wish my Jobs came with the free computer

1521
01:48:15.660 --> 01:48:16.770
Yeah, I have a Mac Pro.

1522
01:48:17.790 --> 01:48:21.030
John English: Graham was so upset with me because I had no idea what I was doing. I would call

1523
01:48:21.030 --> 01:48:29.040
John English: Him every 10 minutes on the phone. And he's like, you went out and bought this computer to do that. I said, no, the magazine bought it for me. And he's like,

1524
01:48:30.630 --> 01:48:31.230
John English: There's this long.

1525
01:48:33.870 --> 01:48:38.070
Tim Trabon: Minute. I'm going to add a I'm going to add a visual arts passage asterisk.

1526
01:48:38.160 --> 01:48:42.480
Tim Trabon: To this conversation, which is wild john is the face of visual

1527
01:48:45.600 --> 01:48:47.190
Tim Trabon: He does not reflect

1528
01:48:47.550 --> 01:48:48.990
Raymond Bonilla: The technology side.

1529
01:48:50.100 --> 01:48:51.150
Tim Trabon: Of our tech company.

1530
01:48:52.650 --> 01:48:53.070
Bill Koeb: On your

1531
01:48:54.600 --> 01:48:55.800
John English: Way I was waiting

1532
01:48:56.490 --> 01:48:57.030
John English: A while.

1533
01:48:57.090 --> 01:48:57.810
John English: And then I

1534
01:48:57.870 --> 01:49:01.170
Tim Trabon: decided I didn't let us like giving a turtle a head start.

1535
01:49:07.260 --> 01:49:09.630
Tim Trabon: I mean, that is the rate at which computers are

1536
01:49:11.670 --> 01:49:14.160
Ashly Lovett: Going, you know, it's like fake it till you make it

1537
01:49:15.720 --> 01:49:16.140
Raymond Bonilla: Yeah.

1538
01:49:17.790 --> 01:49:31.770
Tim Trabon: I'm Ted. Ted, did it impersonation of Gary Kelly after that Google project when they Google did like the video bio on Gary Kelly doing the mural. Do you remember that.

1539
01:49:32.070 --> 01:49:42.180
Tim Trabon: Absolutely, like two years ago. And part of the video that Google put together is Gary walking through the server room at one of these Google Sites.

1540
01:49:42.510 --> 01:49:51.510
Tim Trabon: And he's got a little sketch pad and he's taking notes and he's looking around at the servers and Ted is impersonating where he might have been thinking. He'd be like,

1541
01:49:53.280 --> 01:49:55.470
Tim Trabon: Pretty big pretty big refrigerator.

1542
01:50:01.920 --> 01:50:03.600
John English: What do they need all this refrigeration.

1543
01:50:04.050 --> 01:50:04.620
Wow.

1544
01:50:06.090 --> 01:50:06.900
That's awesome.

1545
01:50:07.980 --> 01:50:08.370
Tim Trabon: Big

1546
01:50:11.580 --> 01:50:12.150
Raymond Bonilla: Man.

1547
01:50:12.180 --> 01:50:14.730
Bill Koeb: You're gonna have to delete this video after we're done.

1548
01:50:15.120 --> 01:50:17.520
Raymond Bonilla: Yeah, just showed a Gary

1549
01:50:19.020 --> 01:50:19.590
John English: Gary

1550
01:50:22.170 --> 01:50:29.070
Raymond Bonilla: Everyone knows that the site so runs off with Photoshop point now, right, you're still running. Visualize passes up the same Mac.

1551
01:50:30.060 --> 01:50:32.730
John English: Well, I'm still using magazine using the same software.

1552
01:50:33.150 --> 01:50:33.540
Yeah.

1553
01:50:37.020 --> 01:50:37.740
John English: Didn't you tell

1554
01:50:40.890 --> 01:50:43.020
Bill Koeb: Me, I did digital work for a long time.

1555
01:50:43.470 --> 01:50:45.930
John English: You're good. I, I, I've seen a lot of it.

1556
01:50:46.320 --> 01:50:50.340
Bill Koeb: Thank you. And then I I kind of got tired of doing it and

1557
01:50:52.050 --> 01:50:53.820
Bill Koeb: Wanted to do something else and

1558
01:50:55.950 --> 01:50:58.740
Bill Koeb: I mean, I would still do it. If there was a call for it, but

1559
01:51:02.640 --> 01:51:04.110
Bill Koeb: And I did a lot of it, but

1560
01:51:06.690 --> 01:51:08.940
John English: You know what convinced me not to do it anymore.

1561
01:51:09.450 --> 01:51:16.080
John English: Was I was there was an artist that really good artist someone I liked a lot. Eric denier and

1562
01:51:16.110 --> 01:51:16.470
Bill Koeb: Yeah.

1563
01:51:16.650 --> 01:51:19.380
John English: We talked together at the Art Institute and the guy.

1564
01:51:20.580 --> 01:51:27.030
John English: It's like when the computer came out he aged about 15 years in the first year. I mean, it's just it just consumed him.

1565
01:51:28.590 --> 01:51:37.740
John English: And he was always just like he was just always packed with this. I mean, he was he was so good. He was such a really you're really good artist.

1566
01:51:38.460 --> 01:51:48.900
John English: But it just, it just warm out, and I didn't want to do that. I didn't want to be like that. And it wasn't. Again, it's certainly not my mindset. It's not meant for me.

1567
01:51:49.710 --> 01:51:59.640
Ashly Lovett: That's how I am with the graphic design. I mean, I can do it. But it stresses me out loud. Whenever I worked for, like, a small little company doing that kind of stuff.

1568
01:52:00.570 --> 01:52:07.170
Ashly Lovett: One thing I think is a good discussion is like procreate versus like Photoshop, because I think the question was,

1569
01:52:07.980 --> 01:52:19.380
Ashly Lovett: What is the, what are the best digital tools and love procreate cuz I'm using it on my iPad, but I will say that one thing that I like about Photoshop that procreate doesn't have is all those different

1570
01:52:21.600 --> 01:52:22.500
Ashly Lovett: What are they the

1571
01:52:23.850 --> 01:52:27.630
Ashly Lovett: I'm still new to it, players but it's like

1572
01:52:29.430 --> 01:52:31.200
Ashly Lovett: Hang on an opening Photoshop and look at it.

1573
01:52:33.840 --> 01:52:39.330
Bill Koeb: I've got actually if you want to spotlight my thing. I've got a thing on Eric juniors

1574
01:52:41.370 --> 01:52:43.170
Tim Trabon: You do that to me. Yeah.

1575
01:52:45.690 --> 01:52:46.680
Bill Koeb: It's just a

1576
01:52:49.980 --> 01:52:50.820
Raymond Bonilla: Yeah.

1577
01:52:51.150 --> 01:52:52.650
Raymond Bonilla: I recognize the top right one.

1578
01:52:53.040 --> 01:52:54.150
John English: Very good artist.

1579
01:52:54.540 --> 01:52:55.200
Bill Koeb: Yeah yeah

1580
01:52:55.680 --> 01:52:55.950
Oh,

1581
01:53:01.950 --> 01:53:02.430
Bill Koeb: Nice.

1582
01:53:04.800 --> 01:53:05.520
John English: Nice article

1583
01:53:05.910 --> 01:53:06.750
Bill Koeb: Article I mean

1584
01:53:07.230 --> 01:53:08.190
Raymond Bonilla: That's beautiful.

1585
01:53:08.730 --> 01:53:11.610
Bill Koeb: So just give you this is ca

1586
01:53:19.140 --> 01:53:20.760
Raymond Bonilla: Photoshop three point

1587
01:53:21.150 --> 01:53:21.780
Yeah.

1588
01:53:23.400 --> 01:53:26.400
Ashly Lovett: Okay. The thing I was trying to think of what layer mask.

1589
01:53:26.730 --> 01:53:27.900
Raymond Bonilla: And oh yeah

1590
01:53:27.960 --> 01:53:35.100
Ashly Lovett: Miles is one thing that I love about Photoshop, because I do a lot of so basically I glazing like you would with an oil painting.

1591
01:53:35.580 --> 01:53:37.680
Ashly Lovett: Yeah, it's really great for create

1592
01:53:38.130 --> 01:53:38.310
You

1593
01:53:39.330 --> 01:53:44.070
Raymond Bonilla: Know you could you could do the I mean like you can do mass, but it doesn't work.

1594
01:53:45.210 --> 01:53:48.390
Raymond Bonilla: You can't, you can't do Adjustment Layer Mask, like, yeah, like you're saying like

1595
01:53:48.570 --> 01:53:49.380
Don Kilpatrick III: You can't throw like a

1596
01:53:49.860 --> 01:53:58.980
Raymond Bonilla: Color Balance, you could you could kind of fake it like you could, you'd have to duplicate the merge all the files would duplicate that and then what

1597
01:54:00.120 --> 01:54:04.140
Raymond Bonilla: Yeah, yeah. So like the the layers aren't as adjustable

1598
01:54:05.280 --> 01:54:06.630
Raymond Bonilla: Affinity photo does

1599
01:54:07.680 --> 01:54:10.110
Raymond Bonilla: Have that. Have you ever mess around with Affinity photo on the iPad.

1600
01:54:10.230 --> 01:54:16.440
Ashly Lovett: You know, and I heard that Photoshop has an app. And I looked at it like two years ago and it was such a cluster F that I

1601
01:54:16.560 --> 01:54:17.550
Raymond Bonilla: Yeah, it's

1602
01:54:18.930 --> 01:54:37.740
Raymond Bonilla: Just they just announced like they made it because Adobe max is going on now, they just announced that made it a big deal that now you could not only view the image size of your images now on Photoshop on the iPad. You can also change the image size, you have the power to change.

1603
01:54:39.360 --> 01:54:45.840
Raymond Bonilla: This time call this time, you could change the image size on Photoshop Photoshop on the iPad.

1604
01:54:46.140 --> 01:54:48.630
Dale Stephanos: So are you talking about Photoshop or fresco

1605
01:54:49.380 --> 01:54:50.310
Photoshop.

1606
01:54:52.320 --> 01:55:02.130
Don Kilpatrick III: And it's, it's, it's just, it's not worth your time. I mean, I think I love fresco, I think, you know, out of, out of the three of these. I look I I'm really intrigued with

1607
01:55:02.730 --> 01:55:10.620
Don Kilpatrick III: Some of the animation stuff that you can do and procreate although I haven't tried it yet but i i really like fresco a lot

1608
01:55:10.740 --> 01:55:13.170
Dale Stephanos: I get to it feels

1609
01:55:14.430 --> 01:55:19.230
Dale Stephanos: It's not as as the interfaces and as simple as procreate but

1610
01:55:19.470 --> 01:55:20.850
Dale Stephanos: I think you do a lot more

1611
01:55:21.540 --> 01:55:32.460
Don Kilpatrick III: Yeah, you know, I use that let you know I use that last week when we, you know, did this and I, I had a lot of fun with it. I just wanted to try out procreate to try out this other

1612
01:55:34.020 --> 01:55:42.960
Don Kilpatrick III: This other way of kind of broadcasting like you know Ray talked about a while ago. So, you know, that's why I kind of moved to this. But yeah, I love it.

1613
01:55:45.120 --> 01:55:46.740
Dale Stephanos: And I'm going to present fun, guys.

1614
01:55:48.420 --> 01:55:49.950
Raymond Bonilla: All right. You live in do

1615
01:55:50.310 --> 01:55:51.480
Dale Stephanos: I am. Oh.

1616
01:55:51.660 --> 01:55:53.460
John English: Wait one second one second, hold on.

1617
01:55:56.940 --> 01:55:58.650
John English: Wait a second. There it is.

1618
01:55:59.490 --> 01:56:01.380
Don Kilpatrick III: That's the timer. Okay.

1619
01:56:02.220 --> 01:56:03.900
Dale Stephanos: Yeah. All right.

1620
01:56:04.110 --> 01:56:05.490
Dale Stephanos: Now you can. There's always

1621
01:56:05.790 --> 01:56:09.720
John English: See you on. See you on Saturday deal. Oh, no deal with your off Saturday.

1622
01:56:09.870 --> 01:56:10.500
Dale Stephanos: Yeah yeah

1623
01:56:10.530 --> 01:56:17.370
John English: guest speaker Catherine lamb. Awesome. He's awesome. All right, Timmy.

1624
01:56:18.090 --> 01:56:18.780
Raymond Bonilla: Take care.

1625
01:56:19.410 --> 01:56:20.070
John English: You Dale.

1626
01:56:20.340 --> 01:56:20.820
Ashly Lovett: I do

1627
01:56:20.910 --> 01:56:21.510
Bill Koeb: I go

1628
01:56:23.010 --> 01:56:24.150
John English: Around the room, real quick.

1629
01:56:26.310 --> 01:56:28.080
Raymond Bonilla: Man I run out of time, really quickly.

1630
01:56:28.500 --> 01:56:29.160
Yeah.

1631
01:56:31.380 --> 01:56:36.270
Tim Trabon: Like Sharon Sharon says how many conversations are going on. It's confusing.

1632
01:56:37.950 --> 01:56:38.340
Tim Trabon: Well,

1633
01:56:38.640 --> 01:56:40.440
Raymond Bonilla: Sorry, I'll share sharing

1634
01:56:43.500 --> 01:56:45.030
John English: I should have said.

1635
01:56:46.950 --> 01:56:48.600
John English: Don. Do you want a couple more minutes.

1636
01:56:49.260 --> 01:56:50.040
Tim Trabon: Timmy speaking

1637
01:56:53.250 --> 01:56:53.610
Don Kilpatrick III: No.

1638
01:56:54.330 --> 01:57:01.320
Tim Trabon: I was gonna tell Sharon, we're, you know, while we are trying to give people a reprieve from the debates we are not going to have

1639
01:57:02.520 --> 01:57:04.260
Tim Trabon: I'm not going to be running a mute button.

1640
01:57:10.410 --> 01:57:13.140
Tim Trabon: Yeah I we can't afford a mute button, unfortunately.

1641
01:57:14.400 --> 01:57:17.670
Tim Trabon: Now I'm going to stop by everybody's everybody's studio

1642
01:57:18.390 --> 01:57:20.670
John English: Don. If you want a minute or two more. You're welcome to it.

1643
01:57:20.910 --> 01:57:22.170
Don Kilpatrick III: Yeah, that'd be awesome if

1644
01:57:22.710 --> 01:57:23.430
Raymond Bonilla: You should take one.

1645
01:57:24.450 --> 01:57:26.340
John English: Minute so much done. I just want to watch you.

1646
01:57:26.940 --> 01:57:27.750
Don Kilpatrick III: Watch me struggle.

1647
01:57:30.480 --> 01:57:33.840
John English: Watching you struggle is not as much fun as watching gray struggle.

1648
01:57:39.120 --> 01:57:40.590
Don Kilpatrick III: Watching him struggle. It's really fun.

1649
01:57:40.950 --> 01:57:43.710
Raymond Bonilla: Yeah, you don't have that glimmer in your I

1650
01:57:45.480 --> 01:57:47.970
Raymond Bonilla: Usually have john when you're watching me, and pain.

1651
01:57:48.180 --> 01:57:48.630
You're like,

1652
01:57:49.710 --> 01:57:51.870
John English: Fail, fail. Come on, you can do it.

1653
01:57:54.630 --> 01:57:56.400
John English: never does. He does great work.

1654
01:57:56.790 --> 01:57:57.390
Raymond Bonilla: Oh, yeah.

1655
01:58:02.040 --> 01:58:07.050
Don Kilpatrick III: I love the I love your color sensibility, or where you get that nice warm cool thing going on.

1656
01:58:08.880 --> 01:58:10.980
Raymond Bonilla: Oh, thanks. Yeah, it's a

1657
01:58:13.500 --> 01:58:17.220
Raymond Bonilla: It's, yeah, I just stole it from Bernie fields and

1658
01:58:18.690 --> 01:58:23.460
Raymond Bonilla: Your mom and all those all those people. So I can introduce you to say, Mars, we want to steal that.

1659
01:58:24.690 --> 01:58:35.850
Don Kilpatrick III: Yeah, man. You know, I think, I think there's some you know that there are some of the painters, so you know I'm aware of some of them, but there are definitely you've mentioned some names throughout the

1660
01:58:36.720 --> 01:58:44.340
Don Kilpatrick III: You know the different sessions, we've had here that I'm like, you know, I want to kind of, I usually keep a notepad with me when I come to this thing seriously because

1661
01:58:44.640 --> 01:58:52.170
Don Kilpatrick III: Either bill or you or john everybody's like kind of mentioning names that I'm always trying to look up and I'm not quick to type, you know,

1662
01:58:52.410 --> 01:58:59.430
Raymond Bonilla: Yeah, I've been horrible about that today because I usually I usually just do a Google search and put it off to the side and

1663
01:58:59.580 --> 01:59:05.520
Tim Trabon: On that note, Bill, what was that somebody wants to know, Dell. What was that book, you were showing

1664
01:59:06.480 --> 01:59:07.530
John English: Communication Arts.

1665
01:59:07.740 --> 01:59:08.880
Bill Koeb: Communication Arts.

1666
01:59:10.890 --> 01:59:11.910
Bill Koeb: 1995

1667
01:59:12.450 --> 01:59:13.980
John English: Is that the that's the illustration and

1668
01:59:14.280 --> 01:59:15.360
Bill Koeb: Yeah, the illustration annual

1669
01:59:17.310 --> 01:59:23.040
Tim Trabon: You know, and Sharon. We're working on it. We had a crowded room tonight. So this is your first time joining

1670
01:59:24.510 --> 01:59:25.470
Tim Trabon: And we just

1671
01:59:27.000 --> 01:59:29.910
Tim Trabon: We just had it. We had a lot of people here tonight, lot of great artists.

1672
01:59:30.930 --> 01:59:32.220
John English: And I think everyone's a little

1673
01:59:32.790 --> 01:59:34.200
Bill Koeb: Lot of really good things in here.

1674
01:59:34.590 --> 01:59:38.730
John English: There's a, there's a lot. There's a lot going on in the world. I think everybody feels

1675
01:59:40.290 --> 01:59:41.190
John English: Really good.

1676
01:59:42.930 --> 01:59:43.200
Yeah.

1677
01:59:44.730 --> 01:59:48.510
John English: I really do this just like playing only social time in my life right now.

1678
01:59:49.440 --> 01:59:49.710
Yeah.

1679
01:59:52.980 --> 01:59:56.340
John English: I know it's a little person, but it's, it's, that's pretty much it.

1680
01:59:56.460 --> 01:59:57.690
Tim Trabon: John you know it's mine.

1681
02:00:01.980 --> 02:00:05.670
Tim Trabon: She, she says it's still better than network TV. Well, that's

1682
02:00:06.360 --> 02:00:07.170
Don Kilpatrick III: That's nice.

1683
02:00:07.560 --> 02:00:09.360
John English: That's good as cable, but you can

1684
02:00:09.810 --> 02:00:10.890
Tim Trabon: Definitely not cable.

1685
02:00:14.460 --> 02:00:15.900
Raymond Bonilla: rather watch the other guys.

1686
02:00:18.870 --> 02:00:20.520
Don Kilpatrick III: The first four minutes, you know,

1687
02:00:20.910 --> 02:00:23.670
John English: Ashley, so two weeks from now.

1688
02:00:25.710 --> 02:00:27.960
John English: Text me text me when it happens.

1689
02:00:29.310 --> 02:00:30.240
Ashly Lovett: To the list.

1690
02:00:33.660 --> 02:00:33.990
John English: Just

1691
02:00:35.280 --> 02:00:35.940
Yeah.

1692
02:00:36.990 --> 02:00:40.200
John English: Vivian cost teaches in our concept, our program.

1693
02:00:41.220 --> 02:00:42.480
John English: She had her baby last week.

1694
02:00:45.000 --> 02:00:45.660
Ashly Lovett: It's crazy.

1695
02:00:45.720 --> 02:00:46.950
John English: Beautiful baby girl.

1696
02:00:48.720 --> 02:00:49.260
John English: Naomi

1697
02:00:51.750 --> 02:01:04.020
Ashly Lovett: And this will be a boys. We picked up the name Leon because my technically my married name last name is Malik. So we had to think about strong first name to go with the last name Malik.

1698
02:01:07.170 --> 02:01:07.800
Raymond Bonilla: Like an

1699
02:01:07.890 --> 02:01:08.550
Ashly Lovett: E on

1700
02:01:09.600 --> 02:01:11.340
Ashly Lovett: The UFC fighter, you know, you got

1701
02:01:11.340 --> 02:01:11.700
Raymond Bonilla: It. Yeah.

1702
02:01:14.250 --> 02:01:16.440
John English: Musician, so that's a good musician.

1703
02:01:17.880 --> 02:01:18.330
Raymond Bonilla: Yeah.

1704
02:01:18.390 --> 02:01:21.690
Ashly Lovett: middle name will be Nathaniel. So if he becomes a lawyer, you can use that one.

1705
02:01:23.010 --> 02:01:25.440
John English: Come on. He's going to become an artist. He's going to become a painter.

1706
02:01:25.860 --> 02:01:31.710
Ashly Lovett: I, you know, that is the most curious thing of all is trying to, you know, think of all the different possibilities and

1707
02:01:34.110 --> 02:01:34.830
Ashly Lovett: It's fun.

1708
02:01:36.210 --> 02:01:40.440
Ashly Lovett: Is he going to be an artist, will I encourage him to be an artist.

1709
02:01:43.350 --> 02:01:47.490
Ashly Lovett: I will. I'm just joking, but it's just fun thinking about it.

1710
02:01:48.300 --> 02:01:50.310
John English: I'm do what he wants to do as

1711
02:01:50.430 --> 02:01:54.240
Ashly Lovett: Long as he's happy doing it. I don't care what he does. Absolutely.

1712
02:01:55.800 --> 02:01:57.420
Ashly Lovett: That's hard enough to find

1713
02:01:59.490 --> 02:02:00.840
Ashly Lovett: Being happy with your work.

1714
02:02:03.360 --> 02:02:04.140
I agree.

1715
02:02:07.980 --> 02:02:10.140
Raymond Bonilla: So actually what you were saying that you

1716
02:02:11.820 --> 02:02:12.960
Raymond Bonilla: Haven't

1717
02:02:14.130 --> 02:02:15.810
Raymond Bonilla: you've messed around with just procreate.

1718
02:02:17.370 --> 02:02:27.210
Ashly Lovett: I've been doing more like I first started off with procreate because I got this job like two years ago that frankly I needed an iPad and I needed to learn

1719
02:02:29.490 --> 02:02:38.700
Ashly Lovett: A digital app because it was just the only way to complete it, because really quick in person thing where we had to do sketches for a

1720
02:02:40.410 --> 02:02:42.840
Ashly Lovett: Presentation and we had like seven hours to do it.

1721
02:02:44.730 --> 02:02:45.690
Ashly Lovett: Yeah, so I

1722
02:02:45.840 --> 02:03:00.600
Ashly Lovett: I use the money that I got from that job to buy an iPad and then I watched like three hours worth of YouTube videos on how to use procreate. And I'm glad I did. It's a lot of fun. I do a lot of my process work on there and I took what I learned from that.

1723
02:03:02.220 --> 02:03:08.040
Ashly Lovett: And jumped over to Photoshop and I've been taking all my black and white illustrations and coloring them digitally.

1724
02:03:09.060 --> 02:03:14.460
Ashly Lovett: And that's the extent of my digital right now and it's been a lot of fun. This year doing all that

1725
02:03:14.820 --> 02:03:15.390
Bill Koeb: By the way,

1726
02:03:15.870 --> 02:03:16.350
Ashly Lovett: What's that

1727
02:03:16.950 --> 02:03:18.090
Bill Koeb: Fantastic, by the way.

1728
02:03:18.690 --> 02:03:29.130
Ashly Lovett: Thank you. I'm it's it's weird because I felt like if I would have tried to do it, a year and a half ago, I get really over. I remember getting really overwhelmed with all the options of Photoshop.

1729
02:03:29.490 --> 02:03:43.350
Ashly Lovett: Mm hmm. But then after playing with procreate for a while and then having my friends kind of give me tips on what to do. It just seemed more manageable and I managed to crank out, you know, a colored version in about an hour or two.

1730
02:03:43.770 --> 02:03:44.640
Of my Yeah, isn't it.

1731
02:03:46.320 --> 02:03:55.800
Raymond Bonilla: Yeah, you could do pretty much anything in Photoshop and really you just have to figure out, like you really will end up only really using 10% of it 99% of the time.

1732
02:03:55.890 --> 02:03:59.040
Ashly Lovett: I know right. We just got to find your own your own

1733
02:04:00.090 --> 02:04:01.320
Ashly Lovett: way of working, I guess.

1734
02:04:01.650 --> 02:04:02.160
John English: Yeah.

1735
02:04:02.400 --> 02:04:03.630
Ashly Lovett: I think I've talked about it.

1736
02:04:03.630 --> 02:04:08.610
Ashly Lovett: Before like miranda Meeks who she's come in before amazing artists. I was like, Girl like

1737
02:04:09.090 --> 02:04:22.560
Ashly Lovett: I'm getting this. But can I just watch you work on top of my stuff and go from there and just seeing her do that was really great. And then my friend Corey has some tutorials on his Patreon and that was really helpful. Cool.

1738
02:04:24.990 --> 02:04:27.900
John English: Okay, so that that's an interesting conversation. I

1739
02:04:28.680 --> 02:04:31.740
John English: Feel in between all the silliness.

1740
02:04:33.750 --> 02:04:34.650
John English: during the evening.

1741
02:04:35.280 --> 02:04:39.180
John English: I'll bring it back around. No, no, I, I think it's great that

1742
02:04:41.160 --> 02:04:56.700
John English: Some of the, you know, industry stuff. Some of the conversation about, you know, people that live their lives as artists and make their living with their art and listening to them, talk about it is really invaluable information it's it's it's

1743
02:04:57.390 --> 02:05:02.460
Ashly Lovett: That's why I like popping in and listening. Whenever I don't have like the set up to draw. I can at least

1744
02:05:03.690 --> 02:05:04.860
Ashly Lovett: Absorb what I can

1745
02:05:05.280 --> 02:05:08.940
Tim Trabon: Yeah. Actually, you're kind of like a Patreon super user. Yeah.

1746
02:05:10.290 --> 02:05:15.840
Ashly Lovett: I mean I post once a week. Always for a while. Yeah. How does

1747
02:05:15.870 --> 02:05:18.990
Tim Trabon: How does that I saw. I miss it. I am assuming that

1748
02:05:19.020 --> 02:05:21.600
Tim Trabon: You really see value in it.

1749
02:05:22.290 --> 02:05:23.580
Ashly Lovett: I do because

1750
02:05:25.560 --> 02:05:29.640
Ashly Lovett: I just want to kind of keeps me on task with all of my personal work.

1751
02:05:32.520 --> 02:05:41.220
Ashly Lovett: And I'm always trying to find new ways of revamping it and it connects me with people who like my work and I'll like I have one try send a prince.

1752
02:05:41.820 --> 02:05:53.820
Ashly Lovett: Whatever new thing that I've worked on this this month I'll send out a print of that. So I'm always encouraged to make sure I have something really cool to do to then send out once a month and

1753
02:05:54.960 --> 02:06:02.250
Ashly Lovett: I also like pulling together like little articles about color theory and it's taken a couple years to figure out what works for me.

1754
02:06:02.790 --> 02:06:15.300
Ashly Lovett: Since I work. Traditionally, I feel like a little bit harder to pull together post, it's easier when you're a digital artist because you can just do you know a time lapse video of what you've worked on and then share the Photoshop file or something.

1755
02:06:16.440 --> 02:06:16.770
Ashly Lovett: But

1756
02:06:18.120 --> 02:06:18.510
Ashly Lovett: Yeah, I

1757
02:06:18.540 --> 02:06:21.150
Raymond Bonilla: Mean the stuff you're doing on this is awesome.

1758
02:06:22.740 --> 02:06:26.550
Raymond Bonilla: Your presentation on that was like just an eye opener of like

1759
02:06:26.550 --> 02:06:28.320
Raymond Bonilla: Wow, this is somebody who's like

1760
02:06:28.920 --> 02:06:34.140
Raymond Bonilla: Okay, wants to do a project and then finds the way to to get that project.

1761
02:06:35.520 --> 02:06:36.720
Raymond Bonilla: You know, make it a reality.

1762
02:06:36.780 --> 02:06:47.850
Ashly Lovett: execute it. Yeah, I'm all about doing my own my own things and on in the background, try to get the, the ones that are jobs of people telling me what to do, but I enjoy doing my own

1763
02:06:48.480 --> 02:06:49.650
John English: Knowing it my own pace.

1764
02:06:50.130 --> 02:06:56.430
John English: You've done a great job using contemporary format to get your career started and

1765
02:06:57.780 --> 02:06:59.460
John English: It's, it's like

1766
02:07:00.930 --> 02:07:09.840
John English: Well, when you were when you came into our classes. I mean that's that's what you know that's what I wanted you to focus on was to, you know, talk about your start

1767
02:07:09.900 --> 02:07:10.950
Ashly Lovett: Now you develop your

1768
02:07:11.310 --> 02:07:19.170
John English: Because it's it's kind of a using the traditional approach and a kind of an entrepreneurial approach that you've done a great job with it.

1769
02:07:19.800 --> 02:07:21.120
Ashly Lovett: Well, thank you. Yeah.

1770
02:07:21.210 --> 02:07:31.500
Ashly Lovett: I all this stuff. I mean, I picked up from other artists all the which that I've met at conventions and I look at their format for Patreon, or their format for Kickstarter or

1771
02:07:31.920 --> 02:07:38.610
Ashly Lovett: You know how they run their own web store and I just pick up notes and I stored away and try to see how I can apply it.

1772
02:07:40.020 --> 02:07:49.290
Ashly Lovett: Like, right now I'm working on graphics for a big into the year sale that I'm having this weekend, because normally I do like a Black Friday sale, but I will be a

1773
02:07:49.500 --> 02:07:50.010
John English: So that's

1774
02:07:52.530 --> 02:07:52.740
John English: Where

1775
02:07:54.000 --> 02:07:55.140
John English: Where do we had to

1776
02:07:56.220 --> 02:07:59.370
Ashly Lovett: Yeah plugin Ashley love it calm and then

1777
02:08:02.490 --> 02:08:03.960
John English: Looks like like a

1778
02:08:04.410 --> 02:08:05.520
Bill Koeb: Look at your prints.

1779
02:08:05.820 --> 02:08:06.030
Yeah.

1780
02:08:07.980 --> 02:08:09.630
John English: Gun is is ready.

1781
02:08:12.240 --> 02:08:20.550
Ashly Lovett: I have a bunch of stuff. I'm going to add. That's pretty much what I'm doing right now for my patrons there, they get like a preview of all the new stuff that's going to be up

1782
02:08:21.270 --> 02:08:35.250
Ashly Lovett: And that's like one of the perks. So that's one thing you can do for Patreon or patrons is to make them feel special because they are because even, even though it's only like $2 a month, you know, they get first access to get like free shipping and all kinds of other stuff.

1783
02:08:35.790 --> 02:08:36.180
John English: That's great.

1784
02:08:36.630 --> 02:08:38.190
Bill Koeb: How long have you been on Patreon.

1785
02:08:39.480 --> 02:08:42.240
Ashly Lovett: I've had it since 2016

1786
02:08:43.020 --> 02:08:43.440
Bill Koeb: Right.

1787
02:08:43.680 --> 02:08:44.460
Ashly Lovett: Now, I've been

1788
02:08:44.520 --> 02:08:46.020
Ashly Lovett: slowly building it.

1789
02:08:47.820 --> 02:08:59.070
Ashly Lovett: And I'm hoping next year it'll get even bigger because I'm going to try to start promoting the next Kickstarter book and really using the kick my patreon as a

1790
02:08:59.580 --> 02:09:08.580
Ashly Lovett: Progress story of like it being created. So even more of a format because I'm, I'm kind of taking notes from other artists who like have world building.

1791
02:09:09.330 --> 02:09:17.640
Ashly Lovett: For their like books and things and trying to make it even more structure to get more people interested, rather than just like I'm working on this, this weekend.

1792
02:09:17.820 --> 02:09:23.520
Ashly Lovett: Right, here's a demon chick. Here's a mermaid. You know, it's this way, it will be more structured

1793
02:09:23.790 --> 02:09:25.530
John English: Yeah. OK.

1794
02:09:25.620 --> 02:09:26.190
John English: So now.

1795
02:09:26.250 --> 02:09:27.480
Tim Trabon: Wait, wait.

1796
02:09:27.660 --> 02:09:28.500
Tim Trabon: On that note,

1797
02:09:28.560 --> 02:09:32.130
Ashly Lovett: I have shared Ashley love it calm in the chat.

1798
02:09:32.520 --> 02:09:32.700
John English: And

1799
02:09:33.210 --> 02:09:35.790
Tim Trabon: Some of you who might not know how to spell her first name.

1800
02:09:36.330 --> 02:09:41.160
Ashly Lovett: You can actually use a sh le y and it would still take you there. I was smart.

1801
02:09:41.190 --> 02:09:41.850
Tim Trabon: Talk about

1802
02:09:41.880 --> 02:09:43.320
Ashly Lovett: Entrepreneurial. Yeah.

1803
02:09:46.380 --> 02:09:46.830
Yeah.

1804
02:09:48.270 --> 02:09:48.780
Tim Trabon: All right.

1805
02:09:50.010 --> 02:09:50.370
John English: I think

1806
02:09:50.700 --> 02:09:51.660
Tim Trabon: The next segment.

1807
02:09:52.140 --> 02:09:53.760
John English: Well, I think the next segment is

1808
02:09:55.020 --> 02:09:56.700
John English: We're gonna walk around the room, real quick.

1809
02:09:57.720 --> 02:09:59.310
John English: And then we will

1810
02:09:59.640 --> 02:10:03.990
John English: Pull up. I actually, I'm ready to go with Instagram.

1811
02:10:04.440 --> 02:10:08.310
Tim Trabon: When you tell I yeah I've got it on a grid right now. JOHN so everybody can see it.

1812
02:10:08.880 --> 02:10:09.930
Ashly Lovett: Good deal. No bill.

1813
02:10:12.360 --> 02:10:15.060
Fantastic. Awesome. Nice.

1814
02:10:21.240 --> 02:10:27.360
Bill Koeb: You after your after your talk, Ashley. It really made me get into gear and get my store going and

1815
02:10:28.230 --> 02:10:30.090
Raymond Bonilla: Yeah, did. Oh, actually, I got on a store.

1816
02:10:31.050 --> 02:10:34.380
Bill Koeb: In I'm building really thinking about how to

1817
02:10:36.330 --> 02:10:41.400
Bill Koeb: find other ways to make an income. Income up what I do, you know, and

1818
02:10:43.860 --> 02:10:54.570
Ashly Lovett: Yeah, I mean, it just, it takes just a little bit of time as far as like getting the presentation right I that's the one thing that I get to be too much in perfectionist is how everything looks

1819
02:10:55.020 --> 02:11:09.810
Ashly Lovett: Yeah. Um, but yeah if you eat, and you don't even have to have a whole bunch of stuff. It could be, you know, quality over quantity as long as it all looks professional and and everything and then sharing it on social media and all that kind of stuff.

1820
02:11:11.460 --> 02:11:15.540
Bill Koeb: About ads on social media like ads on Instagram.

1821
02:11:15.570 --> 02:11:25.440
Ashly Lovett: Things like I've kind of like given up on all that kind of stuff algorithms and things. It's just they change up your odds of

1822
02:11:25.500 --> 02:11:26.700
Ashly Lovett: Getting any kind of

1823
02:11:27.030 --> 02:11:38.100
Ashly Lovett: Traffic constants. Like I feel like they're constantly changing stuff. It used to not be that tricky, but I'm probably not a good person to ask because I kind of hate it and don't believe in it like I used to.

1824
02:11:38.580 --> 02:11:39.030
Tim Trabon: I can

1825
02:11:39.510 --> 02:11:40.980
Raymond Bonilla: I can get a good person.

1826
02:11:41.040 --> 02:11:53.100
Tim Trabon: I can give a very brief, because that is a lot of what I do, I can give everybody a really brief tip. Stop putting text over your art on social media. If it, if it's not part of the art.

1827
02:11:53.850 --> 02:11:55.860
Ashly Lovett: Really does it detect it because I've kind of

1828
02:11:56.730 --> 02:12:09.600
Tim Trabon: detects it is copy. And if you go beyond if the image is more than I believe it is 20% text it flags as an ad that is not paid for and it gets buried so

1829
02:12:09.690 --> 02:12:10.350
Ashly Lovett: Oh, I've

1830
02:12:10.530 --> 02:12:11.700
Tim Trabon: wondered that. And there are a

1831
02:12:11.700 --> 02:12:24.870
Tim Trabon: Lot of ways there are a lot of ways you can test it Facebook actually has a tool. It's actually a Facebook tool that they've developed. If you're going to developers on Facebook and you can put your image and it'll tell you if it's going to get flagged or not.

1832
02:12:26.640 --> 02:12:27.030
Tim Trabon: Do

1833
02:12:27.300 --> 02:12:28.350
I do highly recommend

1834
02:12:29.760 --> 02:12:35.340
Tim Trabon: A lot of people will notice that when you when you include text in your image. It's likely to get less

1835
02:12:36.450 --> 02:12:46.200
Tim Trabon: Not less clicks, necessarily, but less less impressions on that know john we are ready now for to go on the topic of social media ready

1836
02:12:47.790 --> 02:12:48.630
Tim Trabon: Yeah, and

1837
02:12:49.890 --> 02:12:54.480
Tim Trabon: If you've been drawn with us tonight, please share it. We're going to go to john we're going to Instagram first.

1838
02:12:55.530 --> 02:12:55.830
Tim Trabon: We are

1839
02:12:56.250 --> 02:12:58.260
John English: Instagram first. Cool.

1840
02:13:07.620 --> 02:13:10.560
Oh, sorry. I wanted to close something before I do that,

1841
02:13:13.020 --> 02:13:14.010
John English: Here we are in Instagram.

1842
02:13:15.990 --> 02:13:16.500
Nice.

1843
02:13:17.730 --> 02:13:20.100
John English: And this is where we started tonight.

1844
02:13:22.320 --> 02:13:23.310
Raymond Bonilla: That's great one.

1845
02:13:24.630 --> 02:13:25.140
Ashly Lovett: Wow.

1846
02:13:25.740 --> 02:13:26.580
Raymond Bonilla: When I do that.

1847
02:13:29.280 --> 02:13:30.840
Ashly Lovett: Little minimalist

1848
02:13:31.980 --> 02:13:34.110
Ashly Lovett: With with pieces like that.

1849
02:13:34.620 --> 02:13:35.040
Raymond Bonilla: Yeah.

1850
02:13:35.520 --> 02:13:42.090
John English: Or that I don't know if it's just that slow, if I'm that slow I'm plugged in, it should be really fast that piece is not coming up.

1851
02:13:44.010 --> 02:13:44.580
Raymond Bonilla: That's weird.

1852
02:13:45.000 --> 02:13:46.650
John English: First piece didn't but the others are

1853
02:13:49.140 --> 02:13:50.880
Tim Trabon: It read is a thumbnail so

1854
02:13:55.290 --> 02:13:55.650
Raymond Bonilla: Great.

1855
02:13:57.810 --> 02:13:58.320
Bill Koeb: That's cool.

1856
02:13:59.070 --> 02:14:00.240
Wow, that's great.

1857
02:14:07.410 --> 02:14:08.310
Don Kilpatrick III: Oh, hey.

1858
02:14:08.670 --> 02:14:09.210
Bill Koeb: That's fun.

1859
02:14:09.900 --> 02:14:10.560
John English: Very fun

1860
02:14:14.460 --> 02:14:14.880
Don Kilpatrick III: Cool.

1861
02:14:17.130 --> 02:14:18.960
John English: It's so many good people joining us

1862
02:14:21.900 --> 02:14:22.470
Raymond Bonilla: Whoa.

1863
02:14:23.340 --> 02:14:28.470
Raymond Bonilla: Very nice open up the pastels. Wow, that's a nice one.

1864
02:14:28.770 --> 02:14:30.960
John English: Hey, Jesse. Very nice.

1865
02:14:33.960 --> 02:14:35.670
John English: To have our X Academy students

1866
02:14:37.380 --> 02:14:37.620
Nice.

1867
02:14:42.330 --> 02:14:42.990
That's nice.

1868
02:14:47.310 --> 02:14:47.940
Bill Koeb: Oh, that's cool.

1869
02:14:48.840 --> 02:14:49.530
Raymond Bonilla: Oh, yeah.

1870
02:14:54.120 --> 02:14:57.990
Raymond Bonilla: Randy Randy did two in the same time it took me to do one and a half.

1871
02:14:58.050 --> 02:15:01.980
Like maybe 20%

1872
02:15:03.450 --> 02:15:04.050
Raymond Bonilla: Nice.

1873
02:15:04.860 --> 02:15:05.610
John English: Really nice.

1874
02:15:06.150 --> 02:15:07.050
Raymond Bonilla: There's some good work.

1875
02:15:07.770 --> 02:15:09.420
John English: A lot of good work in here. Look at that.

1876
02:15:10.860 --> 02:15:11.640
Bill Koeb: Nice one, it

1877
02:15:13.560 --> 02:15:15.540
Ashly Lovett: Everyone's getting them highlights just right.

1878
02:15:16.350 --> 02:15:18.030
John English: Oh, really nice.

1879
02:15:20.610 --> 02:15:20.940
John English: Well,

1880
02:15:24.780 --> 02:15:26.190
Raymond Bonilla: We put them on the banned list.

1881
02:15:28.320 --> 02:15:33.000
John English: Oh god, I had to put them back in because he's taken one of our classes right now so I handle it.

1882
02:15:33.000 --> 02:15:33.810
Raymond Bonilla: Out. Okay.

1883
02:15:35.880 --> 02:15:36.930
Raymond Bonilla: Temporarily, I get it.

1884
02:15:37.230 --> 02:15:42.300
John English: After him. That's not a bad gig, though. Yes. Like you bad somebody and they sign up for one of our classes.

1885
02:15:49.470 --> 02:15:49.950
Raymond Bonilla: Nice.

1886
02:15:55.350 --> 02:15:56.070
Bill Koeb: That's cool school

1887
02:16:04.230 --> 02:16:04.860
Raymond Bonilla: Mediums

1888
02:16:16.170 --> 02:16:16.620
Nice.

1889
02:16:18.030 --> 02:16:18.780
John English: Nice, Chuck.

1890
02:16:21.960 --> 02:16:22.350
Yeah.

1891
02:16:25.620 --> 02:16:25.890
Don Kilpatrick III: Yeah.

1892
02:16:26.490 --> 02:16:26.880
Yeah.

1893
02:16:28.890 --> 02:16:32.880
Ashly Lovett: So I'll make me want to dive in and do some sketching the same reference photos.

1894
02:16:33.990 --> 02:16:34.950
Raymond Bonilla: Yeah, seriously.

1895
02:16:35.370 --> 02:16:36.600
John English: They live on the website.

1896
02:16:37.890 --> 02:16:39.060
Raymond Bonilla: Doug man with that.

1897
02:16:40.290 --> 02:16:41.520
Raymond Bonilla: Rather than like 15

1898
02:16:43.650 --> 02:16:44.100
Don Kilpatrick III: Readers

1899
02:16:45.240 --> 02:16:45.720
Raymond Bonilla: Yeah.

1900
02:16:47.130 --> 02:16:49.800
Don Kilpatrick III: Cool. I love that with the ruler. Yeah.

1901
02:16:54.480 --> 02:17:00.000
Tim Trabon: Actually the recording will be up tomorrow, depending on how I feel about everything I said tonight.

1902
02:17:04.740 --> 02:17:05.160
Ashly Lovett: Yeah.

1903
02:17:06.300 --> 02:17:08.040
John English: Long quiet spots.

1904
02:17:09.030 --> 02:17:10.020
Tim Trabon: That is generally

1905
02:17:11.790 --> 02:17:15.000
Tim Trabon: If anybody's wondering why episode 27 is unavailable.

1906
02:17:17.520 --> 02:17:19.740
Tim Trabon: It's just because I'm like, I don't know.

1907
02:17:24.570 --> 02:17:25.020
Bill Koeb: Yeah.

1908
02:17:25.620 --> 02:17:26.010
Good.

1909
02:17:29.820 --> 02:17:37.410
Tim Trabon: Good we ever. I do want to add a disclaimer. If we ever upset anybody. We're just goofing around and we're being dummies.

1910
02:17:38.370 --> 02:17:38.910
That's right.

1911
02:17:40.950 --> 02:17:42.150
Raymond Bonilla: And instead means fault for

1912
02:17:42.810 --> 02:17:44.400
Tim Trabon: Shows and I'm so sorry.

1913
02:17:49.140 --> 02:17:54.660
John English: I'm rethinking my story I told him the only embarrassing part to me is I couldn't remember remember stories me

1914
02:17:56.310 --> 02:17:57.180
John English: One of my heroes.

1915
02:17:57.240 --> 02:17:57.600
I

1916
02:17:58.740 --> 02:18:03.090
Tim Trabon: Believe it or not, we're not we're not radio hosts, we

1917
02:18:04.110 --> 02:18:07.110
Tim Trabon: It took a pandemic for us to basically

1918
02:18:08.160 --> 02:18:09.390
Tim Trabon: Start a podcast.

1919
02:18:10.110 --> 02:18:11.970
John English: In the next week or last week.

1920
02:18:12.030 --> 02:18:13.500
Tim Trabon: Wow, look at that. We might have been

1921
02:18:15.060 --> 02:18:16.320
Tim Trabon: Great. Awesome. Right.

1922
02:18:17.340 --> 02:18:18.330
John English: Timmy. Did you see my

1923
02:18:19.350 --> 02:18:20.880
Tim Trabon: Dad was just like Jana.

1924
02:18:21.000 --> 02:18:23.700
Tim Trabon: Doesn't it guys, it's my wife.

1925
02:18:30.570 --> 02:18:32.580
John English: Tammy should be sleeping with one eye open.

1926
02:18:33.000 --> 02:18:33.480
Yeah.

1927
02:18:35.370 --> 02:18:40.050
Tim Trabon: If you don't know. This is my wife at the time, their girlfriend. Wow.

1928
02:18:40.560 --> 02:18:42.120
John English: Alright, so we want to go into Facebook.

1929
02:18:42.300 --> 02:18:43.680
Tim Trabon: Let's do it. Yep.

1930
02:18:44.550 --> 02:18:51.660
Raymond Bonilla: So why don't you just cut the cut the recording. Up until when naturally comes in because it instantly gets better.

1931
02:18:52.800 --> 02:18:53.160
Tim Trabon: It did.

1932
02:18:56.010 --> 02:18:58.260
John English: A lot more intelligent and she came

1933
02:19:01.950 --> 02:19:06.870
Ashly Lovett: Hey, I still get tickled by else conversations I was, I was in the room for a good

1934
02:19:07.980 --> 02:19:09.540
Ashly Lovett: Five minutes.

1935
02:19:10.590 --> 02:19:11.550
Raymond Bonilla: Let us flounder.

1936
02:19:15.900 --> 02:19:16.320
John English: All right.

1937
02:19:16.740 --> 02:19:20.070
Tim Trabon: Here we that's actually true. It is indeed get better when actually

1938
02:19:23.010 --> 02:19:23.280
Raymond Bonilla: Yeah.

1939
02:19:23.370 --> 02:19:24.510
Ashly Lovett: I'll take yes

1940
02:19:24.570 --> 02:19:26.610
John English: gotta pull this all together. Oops, sorry.

1941
02:19:28.680 --> 02:19:32.190
Tim Trabon: Nice. If you watch the recording. It's gonna go from

1942
02:19:33.270 --> 02:19:35.070
Tim Trabon: When I first pose.

1943
02:19:36.690 --> 02:19:37.320
John English: Every time

1944
02:19:37.380 --> 02:19:40.680
John English: Last time I hit the arrow. To me it's lacking me back out of it.

1945
02:19:41.190 --> 02:19:49.650
Ashly Lovett: I think face Facebook was doing that to me earlier because I was trying to look at someone's album their drawings and it was doing. So it's not you for was john

1946
02:19:51.030 --> 02:19:52.050
Don Kilpatrick III: Do you want me to write it out.

1947
02:19:52.140 --> 02:19:54.180
Tim Trabon: To me to write a letter to their developers and

1948
02:19:54.900 --> 02:19:57.360
John English: Just, just just protect me. Ashley. That's all I

1949
02:19:59.700 --> 02:20:01.140
Tim Trabon: Don't encourage it. We

1950
02:20:02.070 --> 02:20:02.670
Ashly Lovett: Need to

1951
02:20:05.340 --> 02:20:07.410
John English: Add a nice job.

1952
02:20:11.760 --> 02:20:12.600
John English: Nice Julian.

1953
02:20:15.030 --> 02:20:19.890
Tim Trabon: Julian wrote a really nice thing about attending isolation instead of the debate.

1954
02:20:22.470 --> 02:20:29.010
Tim Trabon: He said, Terry said he was like, I basically was like, I don't want to watch that dumpster fire. And I was like, Julian, you're still going to see a

1955
02:20:29.010 --> 02:20:29.430
dumpster.

1956
02:20:34.110 --> 02:20:34.470
Bill Koeb: Much

1957
02:20:34.920 --> 02:20:36.870
Bill Koeb: Better design dumpster fire.

1958
02:20:36.930 --> 02:20:40.170
John English: Yeah, Justin, just a different dumpsters all it is.

1959
02:20:40.170 --> 02:20:40.560
Yeah.

1960
02:20:42.480 --> 02:20:45.840
Raymond Bonilla: He's a great, I love Brian's work. I think it's, yeah.

1961
02:20:47.670 --> 02:20:50.850
John English: It's really viable so that much. Yep.

1962
02:20:51.360 --> 02:20:52.800
Raymond Bonilla: Who is a photographer again.

1963
02:20:53.850 --> 02:20:54.720
Tim Trabon: Richard Allen.

1964
02:20:55.230 --> 02:20:56.730
Raymond Bonilla: Richard Allen. Yep.

1982
02:22:00.570 --> 02:22:03.450
John English: I'll go back. That's great. It's Jonathan

1983
02:22:05.160 --> 02:22:06.150
John English: He's in our classes.

1984
02:22:06.750 --> 02:22:08.460
Don Kilpatrick III: Yeah, that's amazing. Yeah.

1985
02:22:08.550 --> 02:22:09.600
Raymond Bonilla: Yeah, that's really good.

1986
02:22:10.590 --> 02:22:13.410
John English: He went to 20 years you've had him in class.

1987
02:22:13.620 --> 02:22:16.710
Don Kilpatrick III: Yes. Yeah, yeah. Detroit.

1988
02:22:18.600 --> 02:22:21.720
John English: He didn't, you know, there's a scene down in the gutter there.

1989
02:22:29.100 --> 02:22:30.480
John English: Are some good stuff in here.

1990
02:22:37.500 --> 02:22:38.010
Don Kilpatrick III: Awesome.

1991
02:22:39.390 --> 02:22:42.600
Tim Trabon: He always adds a little bit of this.

1992
02:22:42.630 --> 02:22:44.640
Raymond Bonilla: Screen. I love that painting.

1993
02:22:44.700 --> 02:22:45.120
Raymond Bonilla: Hello, that

1994
02:22:45.870 --> 02:22:47.130
Tim Trabon: This is a great, awesome.

1995
02:22:47.430 --> 02:22:48.750
Don Kilpatrick III: Happy. That's great.

1996
02:22:49.170 --> 02:22:49.770
Raymond Bonilla: Yeah, that's

1997
02:22:51.120 --> 02:22:53.010
Don Kilpatrick III: My fellow faculty. Yes.

1998
02:22:53.580 --> 02:22:54.240
John English: That is

1999
02:22:54.510 --> 02:23:01.380
Don Kilpatrick III: Yeah. Kathy's just is taught with the in our illustration program for quite a while she's, she's terrific.

2000
02:23:02.430 --> 02:23:04.350
John English: Yeah, that is that is a nice piece.

2001
02:23:05.520 --> 02:23:05.850
Raymond Bonilla: Please.

2002
02:23:05.940 --> 02:23:06.180
John English: Thank you.

2003
02:23:06.360 --> 02:23:07.530
Raymond Bonilla: Wash it looks like

2004
02:23:08.640 --> 02:23:13.080
Don Kilpatrick III: I think she is, um, you know, I honestly don't know. It could be acrylic

2005
02:23:13.710 --> 02:23:15.690
Don Kilpatrick III: Right. Oh, Doug.

2006
02:23:17.130 --> 02:23:17.970
Doug is back.

2007
02:23:22.110 --> 02:23:23.640
Raymond Bonilla: Anthony is does great stuff.

2008
02:23:27.030 --> 02:23:27.390
Bill Koeb: Oh,

2009
02:23:28.200 --> 02:23:29.490
John English: City is in the house.

2010
02:23:29.670 --> 02:23:31.170
Raymond Bonilla: Listen, is in the house.

2011
02:23:31.980 --> 02:23:32.490
Ashly Lovett: In it.

2012
02:23:33.060 --> 02:23:33.480
Bill Koeb: That means

2013
02:23:35.370 --> 02:23:39.480
John English: I scary. Yeah, that's a really interesting contrast

2014
02:23:42.870 --> 02:23:43.260
Wow.

2015
02:23:44.430 --> 02:23:45.180
John English: Very nice.

2016
02:23:48.120 --> 02:23:50.220
John English: I got, I got it figured out. Ashley.

2017
02:23:50.550 --> 02:23:54.810
John English: Well, you can. I'm as good as long as the arrow is visible.

2018
02:23:57.240 --> 02:23:58.110
Ashly Lovett: When I was writing

2019
02:23:58.890 --> 02:23:59.580
Raymond Bonilla: You gotta bring it

2020
02:24:03.150 --> 02:24:06.720
Raymond Bonilla: Doug was on fire Gary's on fire again.

2021
02:24:10.950 --> 02:24:19.020
Tim Trabon: Kathy says working in. I'm gonna mess it up. Can somebody else pronounce it for me. A driller gosh

2022
02:24:19.470 --> 02:24:20.490
Raymond Bonilla: Oh, wash

2023
02:24:21.570 --> 02:24:21.960
Raymond Bonilla: Wash

2024
02:24:22.080 --> 02:24:22.410
Raymond Bonilla: Yeah.

2025
02:24:22.620 --> 02:24:23.400
Don Kilpatrick III: It's that

2026
02:24:24.330 --> 02:24:24.690
It's really

2027
02:24:26.130 --> 02:24:26.580
Don Kilpatrick III: Wait.

2028
02:24:28.620 --> 02:24:29.460
Tim Trabon: Is that a typo.

2029
02:24:30.270 --> 02:24:32.760
Bill Koeb: I was trying to find acrylic wash the other day, but

2030
02:24:33.630 --> 02:24:35.280
Don Kilpatrick III: It's made by whole buying

2031
02:24:35.490 --> 02:24:37.830
Don Kilpatrick III: You know, the whole brand.

2032
02:24:38.310 --> 02:24:38.760
Yeah.

2033
02:24:41.340 --> 02:24:42.630
Don Kilpatrick III: Yeah, I mean, it's

2034
02:24:43.080 --> 02:24:44.310
John English: Pretty good artists to

2035
02:24:45.900 --> 02:24:46.440
Don Kilpatrick III: Oh, yeah.

2036
02:24:47.520 --> 02:24:47.880
Raymond Bonilla: Yeah.

2037
02:24:48.270 --> 02:24:48.750
Don Kilpatrick III: I got annoyed.

2038
02:24:49.500 --> 02:24:51.630
Tim Trabon: Have you ever. Yeah. Have you ever heard the same

2039
02:24:52.770 --> 02:24:57.810
Tim Trabon: Meal this meal is amazing. The chef must have an amazing. Oh, man.

2040
02:25:02.100 --> 02:25:02.370
Raymond Bonilla: That's

2041
02:25:04.530 --> 02:25:05.220
John English: A nice painting.

2042
02:25:05.550 --> 02:25:06.060
Bill Koeb: Really nice.

2043
02:25:06.090 --> 02:25:07.590
Raymond Bonilla: That's really nice painting. Yeah.

2044
02:25:08.610 --> 02:25:11.430
Raymond Bonilla: So nice loss of on edge on that shirt, the handling.

2045
02:25:11.880 --> 02:25:12.780
Lack Rocca

2046
02:25:16.140 --> 02:25:17.370
Raymond Bonilla: Oh, man.

2047
02:25:17.730 --> 02:25:18.540
John English: That's something

2048
02:25:20.430 --> 02:25:21.090
Don Kilpatrick III: Yeah.

2049
02:25:21.210 --> 02:25:22.530
John English: Oh, rain. Very nice.

2050
02:25:23.280 --> 02:25:26.160
John English: That's awesome. Wow. Nice job.

2051
02:25:29.580 --> 02:25:30.660
John English: Marcy you very

2052
02:25:41.310 --> 02:25:42.330
Ashly Lovett: different textures.

2053
02:25:43.470 --> 02:25:46.500
John English: Roberta's my still on my hit list.

2054
02:25:46.740 --> 02:25:50.490
John English: Yeah, yeah. But he's getting really good

2055
02:25:50.640 --> 02:25:54.360
Raymond Bonilla: Are you happy. Oh, I wonder why because it's got a masterpiece in school.

2056
02:25:54.690 --> 02:25:56.520
John English: Right, you can turn them. Look at his tomboy.

2057
02:26:06.030 --> 02:26:09.660
John English: Nice. We saw that earlier. It's nice, though. Nice. Chuck.

2058
02:26:11.940 --> 02:26:12.360
John English: Wow.

2059
02:26:13.500 --> 02:26:14.670
Raymond Bonilla: It's got some good stuff.

2060
02:26:17.850 --> 02:26:18.930
John English: May have come to the

2061
02:26:21.210 --> 02:26:21.840
John English: Nice, Jeff.

2062
02:26:30.000 --> 02:26:30.600
Rebecca

2063
02:26:35.010 --> 02:26:36.210
Raymond Bonilla: That is awesome.

2064
02:26:37.380 --> 02:26:38.700
John English: Trying to do that right

2065
02:26:40.740 --> 02:26:43.680
Raymond Bonilla: So give me about 40 years

2066
02:26:45.420 --> 02:26:46.500
Bill Koeb: Oh, that's nice. That's

2067
02:26:47.430 --> 02:26:49.020
Don Kilpatrick III: Nice. Yeah.

2068
02:26:51.060 --> 02:26:53.220
John English: Wow, nice Cassandra.

2069
02:26:59.910 --> 02:27:00.150
John English: I

2070
02:27:02.700 --> 02:27:15.240
John English: Cassandra was a student at the academy in 2002 2003 and seven really great success painting right now. And she's going to be one of our guest speakers next semester.

2071
02:27:15.690 --> 02:27:17.580
John English: awesome, really awesome.

2072
02:27:18.000 --> 02:27:19.020
Don Kilpatrick III: No, that's awesome.

2073
02:27:19.230 --> 02:27:21.990
Raymond Bonilla: I could tell she knows what she's doing. That's for sure.

2074
02:27:22.230 --> 02:27:25.440
John English: Absolutely. Well, that's a nice one. Yeah.

2075
02:27:27.390 --> 02:27:28.710
John English: That's really interesting dry.

2076
02:27:31.980 --> 02:27:32.460
John English: Nice.

2077
02:27:35.280 --> 02:27:35.970
John English: Good one, Michael.

2078
02:27:39.330 --> 02:27:42.810
John English: Okay, we said we're getting repeats.

2079
02:27:44.160 --> 02:27:46.020
Raymond Bonilla: There we go. Here we go.

2080
02:27:48.060 --> 02:27:49.230
John English: And I think we've come to the

2081
02:27:49.230 --> 02:27:49.980
Tim Trabon: Answer. Great.

2082
02:27:50.100 --> 02:27:50.790
Raymond Bonilla: Alright.

2083
02:27:51.480 --> 02:27:53.880
John English: Hey everybody what a great night. Thank you.

2084
02:27:54.900 --> 02:27:58.050
John English: I'm sorry sorry you had to put up with us being silly but

2085
02:27:58.650 --> 02:28:03.210
Tim Trabon: I'll all officially apologize to reach out and wedding photographer.

2086
02:28:05.010 --> 02:28:08.730
Tim Trabon: I'm not, I'm not making fun of Ashley. I think she was writing to say

2087
02:28:08.760 --> 02:28:09.270
Tim Trabon: Be nice.

2088
02:28:09.480 --> 02:28:10.440
Tim Trabon: To be nice.

2089
02:28:12.270 --> 02:28:14.040
Ashly Lovett: Morning. Thank you.

2090
02:28:14.280 --> 02:28:14.580
Tim Trabon: Thank you.

2091
02:28:15.900 --> 02:28:17.100
John English: Yeah yeah that was

2092
02:28:17.490 --> 02:28:18.240
Raymond Bonilla: Good advice.

2093
02:28:19.260 --> 02:28:20.460
Listen to Ashley.

2094
02:28:21.810 --> 02:28:22.830
Tim Trabon: Thank God you're here.

2095
02:28:25.380 --> 02:28:26.100
Ashly Lovett: Something wrong.

2096
02:28:28.230 --> 02:28:30.150
Tim Trabon: I, I actually did.

2097
02:28:32.310 --> 02:28:35.490
Tim Trabon: Now, so thanks everybody for joining. This is always so much fun.

2098
02:28:35.640 --> 02:28:41.280
John English: It's a great night. Thank you, everybody. Enjoy. Be safe. Enjoy your week and we'll see you next week.

2099
02:28:42.450 --> 02:28:43.050
Ashly Lovett: Bye.

2100
02:28:43.440 --> 02:28:44.550
Raymond Bonilla: Bye Bye, everyone. Thanks.

2101
02:28:46.230 --> 02:28:46.620
John English: Chris

2102
02:28:47.040 --> 02:28:48.030
Raymond Bonilla: Thanks for having us.

2103
02:28:48.480 --> 02:28:48.960
John English: To ya.

2104
02:28:49.440 --> 02:28:50.610
Raymond Bonilla: Bye bye.