Illustration Isolation, Episode 79: Drawing Mad Max

Join John English, Raymond Bonilla, Cassandra Loomis Kim, & Terry Brown as we draw, talk illustration, and discuss our favorite artists.

About the Episode
In this episode of Illustration Isolation, we draw stills from the film Mad Max: Fury Road. We were joined by illustrators and painters, Cassandra Loomis Kim, Raymond Bonilla, and John English. In addition, Terry Brown, the former Director of the New York Society of Illustrators dropped in for a quick chat about art history, our favorite painters, films, and career advice. Thumbnail art by Doug Bell.

Photo Reference

Tom Hard in Mad Max

Tom Hardy – Max Rockatansky

Photo Reference #1

Nicholas Hoult in Mad Max Fury Road

Nicholas Hoult – Nux

Photo Reference #2

Charlize Theron in Mad Max Fury Road

Charlize Theron – Imperator Furiosa

Photo Reference #3 (Option A)

Charlize Theron – Imperator Furiosa

Photo Reference #3 (Option B)

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Automated Transcript from the Episode:

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Tim Trabon: Okay.

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Tim Trabon: room is open.

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John English: Where we live.

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Tim Trabon: yep we’re live.

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John English: Right just.

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Tim Trabon: We were just talking about.

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Tim Trabon: it’s me container john we’re just talking about 16th century fashion fashion trends.

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John English: But we’re just talking about what we were the time so.

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Tim Trabon: yeah yeah.

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Tim Trabon: where’s your ruffled color josh.

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John English: I left I left it.

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Cassandra Loomis Kim: Getting it starts to me.

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Tim Trabon: I while we left the room Philip I actually I have a question is there, like any type of painting from I don’t know past couple hundred years that you would like not one in your House just because of the materials you think.

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Tim Trabon: Like.

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Tim Trabon: It just seems like there’s just so many crazy chemicals have been used ever I don’t know I feel like there’d be like a 1960s.

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Cassandra Loomis Kim: I was gonna say there’s probably like.

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Cassandra Loomis Kim: installment sculptures that are made this and shading materials that I wouldn’t feel comfortable with.

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John English: yeah something Julian novels done that type of things.

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Tim Trabon: yeah.

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John English: Well part part of his thing was you know, the deterioration those plates, you know, on the walls, if you don’t know who he is to me he’s.

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John English: he’s he direct he directed basket and did all the other.

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John English: Okay he’s directed all he directed and did all the paintings for the movie.

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Tim Trabon: Well hey everybody.

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Tim Trabon: we’re here yeah we’re here yo.

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Tim Trabon: Please find the chat the chat seems very quiet i’m surprised nobody’s using the chat.

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Tim Trabon: shoot us a message I was like the chat broke.

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All right, good okay.

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John English: participants.

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Tim Trabon: coming in, oh got some first timers here, let us know if you’re a first timer.

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Tim Trabon: start off by be sure when use the chat don’t only send it to host and panelists send it to everyone, and unless it’s a complaint.

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Tim Trabon: All right.

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Tim Trabon: we’re gonna you’re here early enough to catch the intro.

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Tim Trabon: awesome great well if you if you just joined you’re in the right place, thanks, a lot of time.

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John English: Alright hi everybody, this is john i’m here with Cassandra loomis Kim timmy trayvon we have a few more coming in, I believe, Bill is going to be late.

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Tim Trabon: People will be trickling in yeah.

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John English: A couple of things welcome if you’re if you’re new to us we’re going to do three poses tonight we used to do, for we decided to switch up the links we’re going to do 220 minute poses in one works out to be about a 35 or 40 minute post at the end.

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John English: I think it’s, just like the format better gives us an opportunity to finish one drawing a little bit further tonight.

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John English: We are drawing fury road reference comes from mad Max fury road Tom hardy.

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John English: Nicholas hoult.

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John English: Surely staring can actually share least twice, you have the option of either one on the end.

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Tim Trabon: I like that the last two have been like duplicate this is that time that’s right.

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John English: I think it’s fun.

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John English: And then.

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John English: If you are new to new to us after your drawings after the post post your work to think I have it in here, right here that illustration isolation hashtag illustration isolation on instagram.

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staring.

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John English: And then we will come in and.

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John English: we’ll go through it at the end of the night we spend about 10 minutes going through all the work and just looking at and kind of oohing and aahing it’s like watching fireworks fun.

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John English: So.

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John English: With That said, I think we’re ready to go.

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Tim Trabon: I think we are.

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Tim Trabon: I mean terry’s in the crowd, so I will be.

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John English: I heard a voice in there as soon as.

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John English: he’s wandering around the room.

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Tim Trabon: i’m gonna i’m gonna add the link to the chat.

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Tim Trabon: That photo reference and we’re all set.

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John English: All right.

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Cassandra Loomis Kim: super fun reference, by the way.

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John English: Very fun.

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Cassandra Loomis Kim: And timmy you missed all the compliments for the met Gala the last week.

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Tim Trabon: No kidding really.

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Tim Trabon: that’s great yeah oh my God, well, we were early on, we were really.

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Tim Trabon: On point with that because.

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Tim Trabon: Like like within within the hour of us doing that lived on zach’s released this new album.

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Tim Trabon: which I just thought wow we are marketing geniuses.

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Tim Trabon: I i’ve really been enjoying following that.

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John English: I immediately went out and bought the album so.

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Tim Trabon: yeah I know I know you did.

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John English: I bought it in vinyl.

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Tim Trabon: yeah john doesn’t stream anymore I yeah i’m gonna turn off my video.

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Here you go.

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Tim Trabon: You see how.

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Cassandra Loomis Kim: You john that just makes you even more of a hipster if you’re buying it on vinyl.

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Tim Trabon: yeah I was just going to tell you john yeah that’s like pretty on point.

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yeah.

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John English: yeah.

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John English: I was born at night, but not last night guys.

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John English: I was aware of that.

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Cassandra Loomis Kim: And someone asked any specific materials we need whatever you want to work with like use it, I had a week early on, when I would use crayons and it was really fun so whatever you got use it.

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Tim Trabon: Somebody said, this is only or she started john john get started early we we come in this room at like 545 and the second john joints he starts drawing so you haven’t missed anything he’s been working a little bit longer.

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got a warm up.

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Tim Trabon: I so we also we’ve got Terry brown on the panel.

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John English: hey Terry.

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Tim Trabon: how’s it going.

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Terry Brown: it’s going it’s going very, very well, I came in through the back door, because, for some reason the invite.

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Terry Brown: came in that way, so i’m here doesn’t matter.

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Tim Trabon: that’s great.

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John English: In other words, timmy he figured it out.

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Terry Brown: Things that geezers learned learned to do.

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Tim Trabon: yeah terrier important part of the team.

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Cassandra Loomis Kim: hey how you doing.

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Terry Brown: i’m doing pretty darn well harvesting my last tomatoes enjoying the sun going down too early, but it’s okay good good time of year.

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Cassandra Loomis Kim: Who around my gosh I love fall and so ready for this yeah.

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Terry Brown: been following some interesting threads on on on Facebook, one that came up today was a copyright issue with the with marvel comics and spider man or Dave spurlock put out, and of course I can put a snide response to it but, but those of you who are listening in.

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Terry Brown: The see in the circle is your is your lifeblood you got to know about it and, unfortunately, at this time of the illustration world, they do not have a.

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Terry Brown: Strong a political action committee should we say that can respond to industry issues so we’ll see how this one’s going to turn out with the originator of the marvel character spider man.

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John English: So Cassandra.

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John English: yeah let me ask you.

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John English: I know it might be similar as weeks before, but do you mind kind of walking.

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John English: audience through what you’re doing.

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Cassandra Loomis Kim: Oh sure um yeah so i’ve got cardboard because it’s what I have flying around all the time, and I feel it with gap 100 so that makes means that the paint will just sit nicely on the surface.

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Cassandra Loomis Kim: And then now i’m working in acrylic and i’m just painting the Silhouette first mid mid tone and then i’ll start to work into it.

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John English: Okay.

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Cassandra Loomis Kim: So um.

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John English: We were kind of just talking briefly about archival issues.

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John English: People artwork that’s been on.

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John English: substrates that maybe aren’t the most sustainable.

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Tim Trabon: yeah I had yeah to make it just to go full circle I kind of asked Cassandra like what responsibility with your work, do you feel free to you know not change once completed right.

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Cassandra Loomis Kim: mm hmm.

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Tim Trabon: Because there’s a lot that goes into ricky, including the frame.

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Cassandra Loomis Kim: yeah so I I tried to make it as archival as possible when i’m doing my find out for for these nights like.

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Cassandra Loomis Kim: I I just have been and i’m not worried about it, so I have sealed the front of this and yeah I use gap 100 it’s that’s like an acrylic primer that you can put on.

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Cassandra Loomis Kim: Lots of surfaces to seal it so that nothing comes up and like what you paint on sits sits on the top.

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Cassandra Loomis Kim: And, but like the sides in the back aren’t in any way prepared so that’s what me why it won’t be archival if I.

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Cassandra Loomis Kim: If I prepared the edges and the back and then after my opinion, I like sealed it with the varnish, then it would become archival.

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Cassandra Loomis Kim: I saw this amazing cardboard artists and healing cures the cardboard in latex, and so it lasts but.

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Cassandra Loomis Kim: I believe, like you know as i’ve learned my earlier stuff is not as archival is now my stuff is but the more I learned the harder I work.

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Cassandra Loomis Kim: To make it as archival because I feel like people are investing in like my piece enough to buy it I I want it to be the best possible piece in many ways for them.

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Tim Trabon: Paul asks I would using matt me and perform as well.

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Cassandra Loomis Kim: Well that’s a really good question um I think I think matt medium would work really well i’m not sure about how well it feels.

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Cassandra Loomis Kim: To like being permeable like if there’s anything in the cardboard or like I don’t know later if that will come through, but I know it gives a good base to work on top of.

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Cassandra Loomis Kim: john do you know.

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John English: That meeting has been used for the last 50 years to into everything with artists.

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John English: I I don’t know.

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John English: What its long term effect would be, I know that things that i’ve seen people do by using matt medium and using it as a sealant.

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John English: And in tuning.

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John English: Their work with it.

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John English: has worked really, really well.

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John English: Firm things things that I own of other artists that are 50 and 60 years old, that.

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John English: That have used it.

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John English: The.

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John English: You know thing that I probably mentioned most about especially this crowd.

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John English: illustrators generally have not been that concerned with the archival quality of their work, because most most illustrators see their finished piece as.

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John English: The printed piece and that’s you know and again digital plays right into that.

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John English: But, for you know, during especially.

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John English: The second half of last century.

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John English: I don’t think illustrators took as much care of their work as maybe they should have.

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John English: One in the family, I wish would have paid more attention to certain things.

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John English: Actually, he became very aware of it.

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John English: In his world of painting.

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John English: And it was more important for that, because, again, that he was as an illustrator he was selling a piece that was going, the purpose of it was to go to print.

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Cassandra Loomis Kim: and

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John English: You so outcome makes a big difference of how you treat that.

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Terry Brown: The reality is, it had no tangible value beyond its use as a cover of a magazine as a cover of a book, it was not until after the bicentennial in them so little focus on.

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Terry Brown: Other American artists beyond the ones that are so well known and the illustrators gotten into that mix and some galleries came forward.

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Terry Brown: That said, wow look at this guy Howard pyle he could paint who’s this nc wyeth guy is that that the Andes Dag he wasn’t half bag there it actually had some tangible value and.

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Terry Brown: Yes, we should try to keep those originals in good shape john you’re working in pastels, how do you cure your pastels for.

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John English: Accurate has passed over really stable.

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John English: They don’t change they fall off, you have to mostly the with pastel is framing them properly.

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John English: But you go back and look at.

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John English: The pastel work of the Impressionist the stuff is the color is just fantastic.

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John English: Now, the problem is, you know I went to a merry cassette show and.

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John English: The pieces, whereas you know, pastels on the ground and.

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John English: And it’s just that’s part that’s the nature of the material, but you know the things I do and passed out I do just mostly for.

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John English: doing here I don’t have.

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John English: I don’t do many finishes and pass down.

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Terry Brown: So if you were a portrait artist.

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Terry Brown: Working in pastels your work it’s meant to be home all over the fireplace at the shabbat next house for the next thousand years, it needs to be framed properly.

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Terry Brown: Right, so that it’s not coming off by gravity and it’s not coming off by air conditioning yeah.

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John English: People rubbing against it.

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Terry Brown: What about what What if you work in water color is there anything you need to take into account.

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Cassandra Loomis Kim: The race.

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John English: yeah put it behind UV glass.

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Cassandra Loomis Kim: don’t have it in the direct light of a window.

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Tim Trabon: john when I think of your pastels I always Terry I think this is the year you were at the Academy rockers but.

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Tim Trabon: My wife girlfriend at the time we had just like kind of started dating and she drove to meet at the Academy, and she pulled up and john had a stack of figure drawings that.

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Tim Trabon: That were laying on the on the sidewalk where we were parking to go right up to the back and gentlemen, just drove right.

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Tim Trabon: There is this perfect tire tread.

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Tim Trabon: Right after.

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Tim Trabon: His fast Elton john’s like oh no, you know, and she felt really bad and then later that night she goes.

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Tim Trabon: Why did he have on the ground.

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John English: Now i’ll point out that she did park on the sidewalk.

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Tim Trabon: yeah right right behind your dad.

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John English: might be helping me yeah.

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Cassandra Loomis Kim: gosh yeah.

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John English: But again it’s like.

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John English: Most of this stuff that the stuff that was done in life during class and their 20 minute poses the ones I really like a cake out, and I take good care of them.

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John English: But that’s few and far between.

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Tim Trabon: yeah I have a stack of figure drains from you know when you’re down in the West bottoms john when you moved.

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Tim Trabon: They were you know leftover work from students and I could not take myself that their own away because I just was like if there’s something worth keeping me in here i’m the guy i’m the guy throws away the valuable art.

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Cassandra Loomis Kim: teacher Thomas blackwell.

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Tim Trabon: yeah you know, and so I I got it and I put it in there’s like a one we have one of those chests that like a grandpa brought over.

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Tim Trabon: yeah, and so I I threw it in the chest, and I just was like i’m never gonna think about these again.

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Tim Trabon: You know it’ll probably be like at my estates.

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Terry Brown: haven’t gone, you could have a garage sale that’s really going to be extraordinary.

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Tim Trabon: Maybe you know.

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John English: i’ve accumulated some.

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John English: Some good drawings from.

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Tim Trabon: yeah john you you curated the good stuff though I just got a grab bag of.

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Tim Trabon: What was left behind you know, like the circus Left and I just.

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Tim Trabon: yeah.

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John English: My opening line is Gary you really don’t want to drive back with all this stuff in your car, you know.

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Terry Brown: Well john over the years I collected some nice pieces that.

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Terry Brown: folks they’ve given me and thanks, or I picked up at some of the society of illustrators auctions and such.

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Terry Brown: Those who are new to the group I was the director of the society of illustrators in New York for a couple hundred years, and again by I did buy a nice little sketch and thats hanging and in special place in our House for a reason it’s a watercolor.

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Terry Brown: If any of you ever heard the artist Milton glaser very designer and an artist, he did a poster for a broadway show called the angels in America it’s a it’s a man with.

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Terry Brown: Human figure with wings it’s bending over and he did, as he said, usually 250 sketches of that simple figure with the wings and he donated half a dozen of them to society’s auction and over the years, we did quite well by them and I actually actually pick one up.

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We had.

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Terry Brown: Their own sandwich just gorgeous so we had, I guess, maybe we have 20 paintings in the House and my two sons had a had a draft one time they were up here and they decided which they would take if the wife and I were in some fiery bus crash and.

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Terry Brown: The portrait and he went first.

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Terry Brown: And Milton glaser went second so I felt very proud They beat out glaser.

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Terry Brown: And so, but, but it is a watercolor so we have to be careful, where we where we hang it in the House.

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Right.

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John English: take good care of it.

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Mr.

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Tim Trabon: john I know I told you, the story and i’m trying to remember.

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Tim Trabon: there’s an illustrator that your dad and my dad were friends with.

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Tim Trabon: would have been.

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Tim Trabon: It wouldn’t mind.

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John English: boggling this I know the story go ahead.

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Tim Trabon: They were going.

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Tim Trabon: it’s not really much of a story was just after my dad died you’re kind of you know.

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Tim Trabon: archiving and going through this you know trophy room of collection or just things that have people given him to them over the past, you know 50 years.

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Tim Trabon: And there was this figure drawing by bottom line bell and at the bottom of it, there is just a note that said don’t let your dog eat this one.

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Tim Trabon: And it was just you knew exactly what happened, which was Bob I doubt definitely had trayvon printing.

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Tim Trabon: They were going to print make prints for Bob and my dad star probably ate it.

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Cassandra Loomis Kim: wow yeah that’s that’s awkward.

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Tim Trabon: There was an artist that he was doing prints for that was very, very protective that you know they always have overs.

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Tim Trabon: You know so maybe they asked for 500 prints and if you print 600 they want you to destroy the additional hundred, and he was extremely serious about this, which is fine and he showed up and.

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Tim Trabon: wanting to see them destroy the additional prints, and so they did that my dad.

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Tim Trabon: loaded the prints up once they were done to deliver them.

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Tim Trabon: And he forgot to close.

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Tim Trabon: The back on his truck.

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Tim Trabon: Like hundreds of these friends flew out he had to go, he was he said he is running down the highway.

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Collecting.

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Tim Trabon: liking this artist Prince.

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Tim Trabon: Harry was thinking this this guy didn’t even want extra prints existing now they’re just floating around 435.

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Terry Brown: We got your wife out there to drive over there.

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Tim Trabon: she’s good now exactly I think there’s.

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Tim Trabon: Plenty damage done, that was a long time ago, but.

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Cassandra Loomis Kim: Oh, my gosh that’s hilarious I can picture it he’s like oh it’s like a a benny hill skit or Mr.

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Tim Trabon: It was.

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Tim Trabon: He was he said he was running trying to gather all of him because he was he was paranoid.

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Tim Trabon: But you know this artist would be dry word that you.

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Tim Trabon: See one of his prints.

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John English: destroy them all, but these 300 that we distributed across the highway.

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John English: Exactly dropping.

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Terry Brown: Did you watch the process of the printing being done by your dad’s room.

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Tim Trabon: I I work this summer, where I was a print assistant, but I I would be I I wouldn’t be honest, if I said that I really understood it, especially today.

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Tim Trabon: But I worked at the shop multiple summers and would assist the pressman press people.

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Terry Brown: it’s quite an amazing Cassandra do you ever go to a printer and see your work being we produced.

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Cassandra Loomis Kim: Now I mean right now i’m just getting reproduced and stickers and card, so I haven’t seen any of the fancy stuff, but I would love to.

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Tim Trabon: yeah and Terry to to kind of tell you these these were pretty big presses that you would never let up.

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Tim Trabon: You require a very skilled technician there was no way I was touching them and it’s one of those things, where I was, I was actually scared of them.

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Tim Trabon: They those the rollers and everything they’re intimidating intimidating machine.

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Cassandra Loomis Kim: carry on.

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Terry Brown: I have not, but my wife.

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Terry Brown: has worked for the Museum of modern art for many years overseeing the production of their Christmas cards their hearts and their.

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Terry Brown: Retail prints their appointment calendar so yeah she’s been on press in China, often Spain Verona Italy.

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Terry Brown: it’s it’s quite a exacting science and to take someone with a great idea look at.

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Terry Brown: A proof coming through and say that red needs to be 8% more I wouldn’t know that but she’s gotten so good at saying I know what the original looks like and that story.

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Terry Brown: Sorry night a star yet and we’re not paying whatever it is, and the press when i’m sure tim’s dad had press will network very exacting.

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Tim Trabon: And my dad.

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Tim Trabon: My dad was like that Terry my dad could read color exceptionally well.

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Tim Trabon: Like to a crazy degree his understanding his understanding of color was really advanced.

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Tim Trabon: And then you know he could also.

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Tim Trabon: Like.

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Tim Trabon: call it a party trick he can read he could read backwards and backward and mirrored.

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Tim Trabon: yeah and.

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Tim Trabon: that’s how you would set.

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type.

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Terry Brown: Was.

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Tim Trabon: He could read like yeah he is it like if he would go into someone’s office if they had like a letter on their desk facing them he could read it like no problem.

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Tim Trabon: He did read upside down yeah I don’t know yeah it was weird it’s weird because I i’m dyslexic so i’m like.

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Tim Trabon: I went the other way.

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Cassandra Loomis Kim: I think I was more like your dad I near wrote and all the way through like third grade.

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Cassandra Loomis Kim: And like I was a sign artist and because i’m left handed it off to do all the chalkboard backwards, like right him from right to left so that I wouldn’t match them, so I hear you that on that one oh.

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that’s interesting.

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Terry Brown: There was a photograph online today of the above peak who illustration would be on Mount rushmore and he was signing autographs and he was signing him with his left hand he would say he was a southpaw.

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Cassandra Loomis Kim: However, hey.

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Terry Brown: Look at that matters.

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Cassandra Loomis Kim: You know we’re always happy to have more in our club.

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Tim Trabon: yeah.

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Tim Trabon: I have a you know this is kind of cool, though, when I moved into the House and i’m in now, which is the House my dad grew up in and where he ran his business he ran his business in the basement until the city kicked him out.

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Tim Trabon: But when I moved in here, there was all the press equipment, a lot of the press equipment was still here and.

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Tim Trabon: I thought this is so funny there was a single sheet manual to is Heidelberg press was one single it was like a postcard size instruction.

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Tim Trabon: on how to operate wordpress.

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Tim Trabon: And it was it wasn’t creased it wasn’t even if you knew how my dad took care of things, it was baffling it was in perfect condition.

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Tim Trabon: And I posted a photo of it in Heidelberg their instagram account shared it because they were baffled by.

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Tim Trabon: hey we’ve got a very surprise guest today.

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Terry Brown: wow who’s coming through that celebrity track door.

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Raymond Bonilla: yeah.

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Raymond Bonilla: They said you.

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Raymond Bonilla: Have it folks.

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Tim Trabon: The returner even binya.

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Terry Brown: wow laws.

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Tim Trabon: The prodigal the magical.

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Tim Trabon: The product I don’t know how to say prodigal son.

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Raymond Bonilla: yeah.

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Raymond Bonilla: The protocol isolationist.

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returns.

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Raymond Bonilla: what’s up everyone how are you.

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John English: Hello Ray how are you man.

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Raymond Bonilla: Good good about yourself.

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Raymond Bonilla: i’m okay let’s see guys i’ve missed you guys.

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Cassandra Loomis Kim: yeah i’m here today.

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John English: yeah.

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Raymond Bonilla: I usually start teaching I am teaching right around like round six I got about like an hour drive so.

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Raymond Bonilla: I just just got home, so I.

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Raymond Bonilla: I needed to jump on to some some drawing.

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John English: I am really glad you showed up right.

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Raymond Bonilla: Well, thanks john I didn’t expect that I thought I was gonna get a.

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Cassandra Loomis Kim: chance to come.

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yeah yeah yeah.

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John English: you’re consistently we’ve.

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Raymond Bonilla: discussed this.

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John English: On the first night.

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John English: Start stepping it up.

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Raymond Bonilla: And I was I cautiously right timidly pit click on the OK button to.

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launch.

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Raymond Bonilla: could actually do that.

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Terry Brown: Anyway, are you teaching.

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Raymond Bonilla: I teach at suny fredonia which is like west of.

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Raymond Bonilla: Of buffalo so I teach two days a week there.

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Raymond Bonilla: yeah teach life drawing and.

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Raymond Bonilla: painting like intermediate painting.

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Terry Brown: Excellent.

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Raymond Bonilla: yeah good to see you Terry man it’s been it’s it’s been a minute, as they.

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Raymond Bonilla: As the kids say I don’t even know if the kids say that anymore, they probably more middle aged people now say that but.

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John English: Now that you did probably not yeah.

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John English: i’ve always know if you’re gonna have that works yeah.

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Tim Trabon: yeah.

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Terry Brown: already announced myself to be a geezer so I might my time frame is.

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Terry Brown: That all of you.

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Tim Trabon: remind your kid is like eight now right.

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Raymond Bonilla: yeah yeah yeah.

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Raymond Bonilla: The kiddos you know we’re really looking at college applications and perhaps.

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Raymond Bonilla: yeah.

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Cassandra Loomis Kim: that’s your.

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Raymond Bonilla: baby’s doing really well thanks for asking she’s going to be seven months.

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Raymond Bonilla: In on Saturday.

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Cassandra Loomis Kim: Oh gosh that’s everything just gets so much more exciting I didn’t realize it could but that’s when they start becoming so much more aware.

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Raymond Bonilla: yeah yeah i’m already starting to see it, you know, like.

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Raymond Bonilla: She knows when we’re you know we leave the room and stuff and.

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Raymond Bonilla: yeah so you know so it’s great it’s great it’s definitely life changing so.

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Tim Trabon: My my nephew is three months now.

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Raymond Bonilla: Oh, my goodness, so has it been three months already.

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Tim Trabon: I think it’s been like three and a half.

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Tim Trabon: Already he’s just gotten, to the point where holding him it doesn’t feel like holding like a pork tender line.

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Tim Trabon: You know.

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Raymond Bonilla: Like literally insides yeah yeah.

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Tim Trabon: yeah like he can hold his head up you know.

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Raymond Bonilla: yeah yeah yeah seriously yeah.

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Tim Trabon: hey we’re getting some like clipping on your audio I don’t know what.

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Raymond Bonilla: Okay, is that better.

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Cassandra Loomis Kim: No, no.

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No.

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Tim Trabon: it’s like papi.

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John English: It raise lost all his technical facilitation.

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Tim Trabon: And the only reason I say is because I know how important your IQ is.

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seriously.

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yeah.

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Tim Trabon: I know the first the first guy had no idea baby could know this head up on its own it’s a lot of work, the head.

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Cassandra Loomis Kim: yeah yeah.

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John English: Those are the kind of things you say, if you don’t want anybody to ask you to babysit.

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Tim Trabon: so well, no.

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Tim Trabon: No, I was telling.

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Tim Trabon: I was telling my mom this I was like dickie no baby can’t drink water and she was, like you, are not fit for.

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Raymond Bonilla: Is that better.

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Tim Trabon: I.

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Cassandra Loomis Kim: talk a little more yeah testing 1212.

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Tim Trabon: what’s going on.

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Tim Trabon: Right yeah I didn’t know babies didn’t drink water.

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Cassandra Loomis Kim: You know what you figure it out so quick my husband has never changed a diaper ever and then we had twins and within like 12 hours, he was a pro because he changed like 20.

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Terry Brown: wins.

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Tim Trabon: I feel like that’s a very like you get two kids right out the gate.

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Tim Trabon: that’s yeah yeah you say that’s that’s like a that’s a bundle deal.

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Cassandra Loomis Kim: yeah yeah it’s down chaos yeah.

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Terry Brown: yeah to watch.

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Terry Brown: to watch a woman nurse twins is to see real real motherhood inaction.

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Terry Brown: You got to balance them you got to control them.

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Terry Brown: You got to have one’s eating the other ones, you get the picture it’s a it’s a challenge, like sister in law had twins their late 20s now very successful kids, but that was a very exciting to see and Ray you said, your daughter is seven months.

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Terry Brown: And sorry the people aware yeah yeah yeah.

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Raymond Bonilla: For sure yeah is that my audio better.

375

00:33:46.230 –> 00:33:48.390

Tim Trabon: I don’t know, maybe, if you just switch to your machine.

376

00:33:50.310 –> 00:33:50.490

Tim Trabon: Because.

377

00:33:50.820 –> 00:33:53.670

Tim Trabon: The machine yeah just like your built in MIC.

378

00:33:55.290 –> 00:33:58.020

Tim Trabon: Maybe it’s I don’t know what your situation is but.

379

00:33:59.100 –> 00:33:59.430

OK.

380

00:34:02.370 –> 00:34:05.850

Tim Trabon: Sorry re now that’s okay so it’s clipping right.

381

00:34:06.420 –> 00:34:07.260

Cassandra Loomis Kim: Well it’s not.

382

00:34:07.560 –> 00:34:11.340

Tim Trabon: Now it’s not it’s just very quiet, so I think it may be just bumped it up, if you can.

383

00:34:13.260 –> 00:34:17.400

John English: You know, this is all a ploy this is Ray coming in saying how can I sabotage.

384

00:34:19.470 –> 00:34:21.270

John English: yeah this other product, we have.

385

00:34:21.690 –> 00:34:21.990

Right.

386

00:34:23.430 –> 00:34:23.730

Cassandra Loomis Kim: yeah.

387

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Tim Trabon: To quiet re.

388

00:34:31.980 –> 00:34:41.130

Tim Trabon: Better it’s very quiet okay i’m gonna boost and you’re like you’re like 30% of what we are oh yeah.

389

00:34:42.720 –> 00:34:45.480

Tim Trabon: I haven’t had to provide tech support for a while.

390

00:34:46.530 –> 00:34:47.040

John English: Ray.

391

00:34:47.730 –> 00:34:49.440

John English: I know well, people.

392

00:34:53.970 –> 00:34:55.650

John English: Can you still paint really well right.

393

00:34:57.870 –> 00:34:58.350

So, yes.

394

00:34:59.940 –> 00:35:01.410

Cassandra Loomis Kim: hey that looks really good.

395

00:35:01.470 –> 00:35:04.170

John English: So I saw landscape you posted the other day look terrific.

396

00:35:04.380 –> 00:35:05.850

Raymond Bonilla: it’s beautiful Thank you.

397

00:35:06.930 –> 00:35:09.690

Cassandra Loomis Kim: And now you sound good all right, I sound better now.

398

00:35:10.470 –> 00:35:18.000

Tim Trabon: Quiet very quiet very quiet yeah Okay, I would recommend like a 50% best.

399

00:35:19.020 –> 00:35:21.360

John English: They can you read the end of the first post.

400

00:35:21.510 –> 00:35:23.040

Tim Trabon: Okay, great so.

401

00:35:23.070 –> 00:35:24.030

John English: Sandra brush.

402

00:35:27.360 –> 00:35:27.870

John English: keep going.

403

00:35:28.950 –> 00:35:32.160

Cassandra Loomis Kim: i’ll go into the next one, this is, I just love the light on this.

404

00:35:34.350 –> 00:35:35.010

John English: yeah it’s fun.

405

00:35:35.820 –> 00:35:36.540

Cassandra Loomis Kim: super fun.

406

00:35:37.290 –> 00:35:39.270

John English: hey timmy can I do my little spiel now.

407

00:35:39.510 –> 00:35:40.650

Tim Trabon: yeah i’m.

408

00:35:41.520 –> 00:35:43.320

John English: A visual arts passage steel.

409

00:35:45.450 –> 00:35:47.100

John English: We are enrolling.

410

00:35:48.360 –> 00:36:02.790

John English: Our enrollment closes October 2 our next semester starts October 9, I just wanted to real quickly say hey we have two programs, we have an illustration program and we have a concept art Program.

411

00:36:04.470 –> 00:36:12.510

John English: Some of the best working artists in the industry to teach these classes and these classes are all very specific the things that.

412

00:36:13.800 –> 00:36:26.130

John English: Oh, myself and a group of artists that were at the Academy for years decided was the most important information to develop a portfolio to prepare yourself to work in the industry.

413

00:36:26.760 –> 00:36:35.430

John English: And the concept per program kind of follows the the same steps I I look at this that our process going crabgrass is a.

414

00:36:37.170 –> 00:36:41.070

John English: it’s a very physical the physical aspect of making a picture.

415

00:36:42.240 –> 00:36:58.500

John English: it’s also the pipeline of the industry, all the skill sets that relate to it’s all about putting a picture designing and putting a picture together second classes, an ideation class it’s about identifying the problem and solving it so really great.

416

00:36:59.640 –> 00:37:04.830

John English: way to get from text to visual and then in the portfolio class we make our students or.

417

00:37:06.450 –> 00:37:15.960

John English: fill out a portfolio brief before they can make an image they identify their audience, what are the art directors, they want to work for what part of the industry and really make them think about function.

418

00:37:16.770 –> 00:37:28.320

John English: And the career class we’re actually putting them that students are putting it into action they’re calling on our directors there redesigning their websites aligning their social media building.

419

00:37:30.720 –> 00:37:43.500

John English: Putting newsletters together reaching out introducing themselves to art director sending direct mail pieces it’s it’s it’s the practical application of starting of what an emerging artist should be doing.

420

00:37:43.890 –> 00:37:52.950

Tim Trabon: yeah and considering there’s so many new people joining us tonight, just to be clear, this is a this is, this is what visual arts passage is outside of illustration, isolation, this is.

421

00:37:53.520 –> 00:38:02.130

Tim Trabon: We offer really immersive mentorship courses that, as you can see our top by working pros and.

422

00:38:02.970 –> 00:38:09.480

Tim Trabon: Those classes, you know john if you were to go back to the classes that were talking about if you’re if you’re really enjoying tonight.

423

00:38:10.260 –> 00:38:23.700

Tim Trabon: You know, you would start with process skill and craft or ideation and then you work up and during your enrollment you build a portfolio and you study under these working pros that are going to kind of help act as your compass.

424

00:38:25.230 –> 00:38:26.340

John English: And it’s it’s a.

425

00:38:27.750 –> 00:38:38.880

John English: we’ve been doing this very, very much the same well Cassandra you went through the illustration academy lot of a lot of the same material it’s gotten even more focused and more direct.

426

00:38:40.830 –> 00:38:55.890

John English: Our our instructors on the illustration site or audrey been jamison and word can sell a deal Stefan us, myself and sterling only these four guys are all academy students can dummy products.

427

00:38:57.570 –> 00:39:07.470

John English: And audrey is kind of the product of a couple of academy instructors at ringling and I don’t I can’t even explain I agree she’s just like a freak of nature for.

428

00:39:07.530 –> 00:39:10.410

John English: me or a freak show of talent, the other.

429

00:39:12.660 –> 00:39:30.210

John English: She is absolutely amazing our guests, we always have the 10 week program a 10 week semester we always have three guests artists focused in that in any either program so there’s three concepts guests artists there’s three illustration guest stars.

430

00:39:31.350 –> 00:39:43.470

John English: These are the desert is for this coming semester i’m really excited though chica was the very first student to ever sign up for the illustration academy 27 years ago.

431

00:39:44.520 –> 00:39:49.170

John English: Miriam oh Martin sick just finished our program like.

432

00:39:51.060 –> 00:40:07.920

John English: Maybe four months ago, two semesters ago she’s already won a gold medal at the society of illustrators she had multiple image three three additional images accepted she done work for Susan facility she’s working for you know top art directors it’s just amazing the success she’s having.

433

00:40:08.040 –> 00:40:12.720

Tim Trabon: So do we have that built into that program where, then you come back as a guest speaker.

434

00:40:13.530 –> 00:40:16.170

John English: Well, a lot of luck i’m telling you a lot of our students.

435

00:40:16.320 –> 00:40:19.230

John English: it’s great to be able to go back to your past students.

436

00:40:19.260 –> 00:40:20.880

John English: that have developed great careers.

437

00:40:20.940 –> 00:40:28.380

John English: I mean that’s Our objective is to help people develop in the industry, and then on the concept side it’s very much the same way.

438

00:40:30.210 –> 00:40:32.880

John English: The whole idea is getting the basic design elements.

439

00:40:33.990 –> 00:40:47.190

John English: character creature environment in the first class developing assets in the second class and starting to world to the world building you’re doing the same thing the illustration students are doing you you’re identifying who you want to go to work for.

440

00:40:48.810 –> 00:41:00.990

John English: Art directors run our industry, they rule our industry for on the on that pirate side for artists you got to know who they are you got to build make work that’s appropriate whether it’s in a studio or on a freelance.

441

00:41:02.010 –> 00:41:03.660

John English: trajectory so.

442

00:41:04.950 –> 00:41:10.800

John English: very similar approach the whole idea is to make a functioning portfolio to get you started.

443

00:41:11.850 –> 00:41:14.970

John English: Our our our concept artists instructors are.

444

00:41:15.990 –> 00:41:16.800

John English: All phenomenal.

445

00:41:18.300 –> 00:41:22.920

John English: Vivian and john I Meister we’re both past students at the illustration Academy.

446

00:41:23.640 –> 00:41:41.280

John English: Like both Vivian and john and Vivian just took a new job and she’s actually taking the Semester off so Taylor Fisher and narges Jafari are from wild blue students are taking teaching our second level class the advanced concept john I Meister at.

447

00:41:42.390 –> 00:41:51.870

John English: High rez studios he’s a senior concept hers and IRA studios is teaching our intro class and then laker wits who is.

448

00:41:53.400 –> 00:42:03.390

John English: He directs works for wizards of the coast and and then works for freelancers, for a lot of people he’s a phenomenally good artists and great concept artists.

449

00:42:05.790 –> 00:42:08.970

John English: And their guest speakers are.

450

00:42:10.230 –> 00:42:14.040

John English: grace new miles wadsworth and Mitchell why.

451

00:42:15.420 –> 00:42:27.870

John English: Are we’ve had it set up that we didn’t always do this now, we do that in the in both concept and illustration programs can share the guest speakers.

452

00:42:28.740 –> 00:42:35.700

John English: You get to see all six, and so you get six visiting artists coming into the program on top of your mentorship classes.

453

00:42:36.060 –> 00:42:42.480

John English: And the classes were that you know, the way it lays out is, we have a three hour live class on Saturday, for your homeroom.

454

00:42:43.350 –> 00:42:51.180

John English: We have a meetup in the middle of the week called study hall it’s three hours live we’re a group of our classes come together there’s multiple instructors there.

455

00:42:51.720 –> 00:43:02.100

John English: And then we use the we use slack as a product to communicate to connect our students with our instructors on a daily basis, our goal is that you know somebody can.

456

00:43:02.700 –> 00:43:08.340

John English: wants to put six hours into a class for 40 hours and do a class we’re always going to be able to answer there.

457

00:43:08.760 –> 00:43:18.720

John English: And I think i’m really proud of the product, I think we’ve done a really good job with it and I love the people involved with it there’s some of the best talent in the industry so.

458

00:43:21.000 –> 00:43:28.800

John English: We enrollment closes October 2 if you have any interest reach out to us check out the website and we’d love to have you in the Program.

459

00:43:29.490 –> 00:43:30.570

Tim Trabon: And don’t sleep on it.

460

00:43:31.320 –> 00:43:33.480

John English: All right, I got through it okay to me.

461

00:43:33.870 –> 00:43:37.020

Tim Trabon: yeah you did I shared links to both programs.

462

00:43:37.080 –> 00:43:38.970

Tim Trabon: You know, it was like we should say like it’s.

463

00:43:39.030 –> 00:43:41.850

Tim Trabon: it’s kind of like that week with npr where they’re like.

464

00:43:44.160 –> 00:43:45.570

John English: we’re taking donations.

465

00:43:45.900 –> 00:43:47.160

John English: yeah please just.

466

00:43:47.370 –> 00:43:50.430

Tim Trabon: donate your used car to visual arts passage.

467

00:43:53.610 –> 00:43:57.120

Tim Trabon: We still yeah no doubt we have enough used cars.

468

00:43:59.400 –> 00:43:59.850

John English: But.

469

00:44:00.960 –> 00:44:05.160

John English: You get to see a bit of our Community here on Thursdays and I think it.

470

00:44:07.980 –> 00:44:16.830

John English: it’s a it’s a glimpse of what we do it’s not the the the mentorship classes are extremely focused and.

471

00:44:17.970 –> 00:44:19.710

John English: some great work is being produced their.

472

00:44:20.820 –> 00:44:21.990

John English: Success comes from it.

473

00:44:23.010 –> 00:44:25.110

John English: All right, so we’re on pose number two.

474

00:44:25.410 –> 00:44:27.720

Tim Trabon: yeah and we’re back to raise tech issue.

475

00:44:28.470 –> 00:44:29.190

John English: Right now.

476

00:44:29.550 –> 00:44:31.020

Raymond Bonilla: Is it better or worse.

477

00:44:32.880 –> 00:44:34.020

Tim Trabon: I think will survive.

478

00:44:34.380 –> 00:44:35.760

John English: It we’re fine right don’t worry about it.

479

00:44:35.850 –> 00:44:38.190

Raymond Bonilla: Is it you gotta tell me to me.

480

00:44:38.370 –> 00:44:39.060

John English: It sounds as though.

481

00:44:39.600 –> 00:44:39.900

it’s.

482

00:44:41.400 –> 00:44:42.360

Tim Trabon: Still clicking in.

483

00:44:42.390 –> 00:44:43.320

John English: But we hear you fine.

484

00:44:43.860 –> 00:44:44.220

yeah.

485

00:44:45.450 –> 00:44:49.740

John English: you’re just don’t have that radio voice that you always have yeah.

486

00:44:52.050 –> 00:45:01.650

Tim Trabon: You know I think john you would probably do this best we have so many new people night it’s easy to forget we have such a new audience, many of them, probably have not met Ray.

487

00:45:03.120 –> 00:45:03.600

Tim Trabon: So.

488

00:45:05.550 –> 00:45:08.370

Tim Trabon: I think you do a much better introduction john I.

489

00:45:11.640 –> 00:45:13.320

Tim Trabon: Know they’ve never met event illustration.

490

00:45:13.320 –> 00:45:13.950

isolation.

491

00:45:15.330 –> 00:45:18.150

John English: yeah just kidding I I.

492

00:45:19.440 –> 00:45:34.950

John English: I got a phone call from one of rays instructors at the Academy of art, the chair of the illustration program there he called me he said I, I have a name for you and I said Okay, he said Raymond bonita.

493

00:45:36.390 –> 00:45:40.680

John English: And he said someday he’ll be teaching at your Program.

494

00:45:41.910 –> 00:45:42.150

John English: and

495

00:45:43.410 –> 00:45:47.280

John English: This guy must be good, I mean it must be one hell of a student and.

496

00:45:48.360 –> 00:45:49.920

John English: That was a long time ago right.

497

00:45:51.450 –> 00:45:56.370

John English: That that chuck reach out to me that’s about 1800s of thing yeah I think so.

498

00:45:57.900 –> 00:46:05.280

John English: Then what a call I mean Ray Ray taught a class first last fall and love for him to teach more classes for us.

499

00:46:07.020 –> 00:46:15.000

John English: He is an exceptionally talented illustrator and it extremely good painter.

500

00:46:16.860 –> 00:46:19.710

John English: He did he’s done lectures on studio bridge.

501

00:46:21.180 –> 00:46:33.630

John English: demonstrations and studio branches and his process and the way he approaches his understanding of the illustration industry is amazing, the history of it, Terry.

502

00:46:35.640 –> 00:46:37.590

John English: You should listen to.

503

00:46:39.240 –> 00:46:46.620

John English: It you should have a long discussion someday and i’m sure you already have but Ray really knows his stuff and.

504

00:46:47.640 –> 00:46:55.740

John English: Just so excited when he agreed to do some things with us and work with us because he’s just an amazingly talented guy.

505

00:46:57.810 –> 00:47:00.240

John English: who’s worked at it really hard and.

506

00:47:01.860 –> 00:47:04.110

John English: he’s a good explainer of what he does.

507

00:47:05.580 –> 00:47:07.170

John English: Great explain what he does.

508

00:47:10.740 –> 00:47:13.770

Well john Thank you read the script exactly as I wrote it.

509

00:47:15.900 –> 00:47:20.160

Tim Trabon: hey great I texted you an idea that I think will fix this problem.

510

00:47:22.560 –> 00:47:30.330

John English: I lucked out the some of the some pro tips that you wrote that you sent to me I just I felt that was enough.

511

00:47:33.180 –> 00:47:34.020

Cassandra Loomis Kim: To simplify.

512

00:47:34.590 –> 00:47:35.910

Cassandra Loomis Kim: simplify yeah.

513

00:47:39.150 –> 00:47:46.950

Cassandra Loomis Kim: yeah and re in your studio bridge I love that you really went into your influences and like I really enjoyed that aspect.

514

00:47:50.190 –> 00:47:51.870

Tim Trabon: Sandra I just gave Ray.

515

00:47:52.140 –> 00:47:54.300

Cassandra Loomis Kim: I know he’s totally work on in the sound, but I just.

516

00:47:56.010 –> 00:47:58.650

Tim Trabon: Know it’s fine I just didn’t want you to think he was ignoring you.

517

00:47:59.070 –> 00:47:59.580

Tim Trabon: I got it.

518

00:47:59.670 –> 00:48:01.530

Tim Trabon: I got it I know he’s juggling that.

519

00:48:01.560 –> 00:48:05.460

Tim Trabon: Because he just gave up to my my concept.

520

00:48:06.960 –> 00:48:12.630

Terry Brown: I think, for a seven year 10 month old daughter can probably step right up there and ran with pushed your.

521

00:48:12.630 –> 00:48:14.070

Terry Brown: buttons and it would be perfect.

522

00:48:14.430 –> 00:48:14.940

Tim Trabon: yeah.

523

00:48:14.970 –> 00:48:18.150

Cassandra Loomis Kim: Probably law working technology.

524

00:48:19.980 –> 00:48:20.400

Tim Trabon: yeah.

525

00:48:21.270 –> 00:48:26.250

John English: I think we should say a bunch of great things about Ray that he will hit they won’t even respond to.

526

00:48:27.690 –> 00:48:33.240

John English: Everybody what what an arrogant guy that guy was they said some of the nicest things about him.

527

00:48:33.990 –> 00:48:35.160

John English: response what.

528

00:48:36.000 –> 00:48:36.810

Cassandra Loomis Kim: The nerve.

529

00:48:37.710 –> 00:48:38.220

Terry Brown: john you.

530

00:48:38.280 –> 00:48:40.320

Terry Brown: You made a good point and I think it is.

531

00:48:41.610 –> 00:48:55.830

Terry Brown: I think it is true, he he knows his history, but he also knows the current industry, and I think the only reason you studied history is so you can interpret your current industry in the light of how they adapt to their current industry.

532

00:48:56.880 –> 00:49:10.350

Terry Brown: changes and mores changes in technology changes and how your work was going to be used black and white color whatever now digital I think he’s good at a few times i’ve heard him talk on on isolation about it is that.

533

00:49:11.370 –> 00:49:23.820

Terry Brown: You can tell us what Rockwell how rock will determine how rock what we’re trying to gay and that’s kind of where I think if you touch on some of those historical aspect I know you guys did fashion, last week, so you weren’t pulling faces.

534

00:49:24.300 –> 00:49:34.890

Terry Brown: And there’s a lot of difference in the way you draw fashion, as opposed to join faces but there’s a reason to be able to draw fashion, today, just as there was back then.

535

00:49:36.120 –> 00:49:37.410

Terry Brown: I think Ray knows that stuff.

536

00:49:39.570 –> 00:49:40.230

John English: Thank you, Terry.

537

00:49:41.910 –> 00:49:43.350

John English: comics tremendous sense.

538

00:49:44.940 –> 00:49:46.620

John English: I told a.

539

00:49:47.670 –> 00:49:55.530

John English: kind of a funny little story about Gary Kelly responding to a student in a debate with an argument, it was a it was a healthy debate.

540

00:49:56.490 –> 00:50:17.670

John English: And Gary pointed out to the student that has worked looks similar to allow them illustrator well, excuse me well known painter and the art of the student took the defense of well I need to know who that painter is and Gary his response was so great, he said.

541

00:50:18.720 –> 00:50:31.170

John English: that’s even worse, he said, you know that’s your job as an artist to know who that person is and that’s a well known painter that’s part of being an artist you gotta pay attention to history and who’s currently working, but I think that’s really true.

542

00:50:33.210 –> 00:50:37.410

John English: know our past and knowing what’s going on right now, extremely important.

543

00:50:38.610 –> 00:50:40.830

Raymond Bonilla: yeah I absolutely agree, can you guys hear me better.

544

00:50:41.070 –> 00:50:44.040

John English: yeah actually your radio voice there you go.

545

00:50:47.670 –> 00:50:50.040

Raymond Bonilla: yeah hey john thanks for the Nice.

546

00:50:51.870 –> 00:50:57.060

Raymond Bonilla: You know kind of comments on my work my work and whatnot I really, really appreciate that.

547

00:50:58.170 –> 00:51:02.130

Raymond Bonilla: yeah I was just sorry I was scrambling to find my phone.

548

00:51:04.110 –> 00:51:08.280

Raymond Bonilla: So yeah I think I love it illustration history.

549

00:51:09.360 –> 00:51:13.440

Raymond Bonilla: Probably would never want to go toe to toe with Jerry brown in a million years.

550

00:51:13.830 –> 00:51:15.180

Raymond Bonilla: I see having a discussion.

551

00:51:15.540 –> 00:51:16.950

Raymond Bonilla: See frightens me to death.

552

00:51:18.030 –> 00:51:20.370

Raymond Bonilla: So you hold your own don’t worry you.

553

00:51:23.010 –> 00:51:24.540

Raymond Bonilla: Know it’s like.

554

00:51:26.340 –> 00:51:27.930

Raymond Bonilla: yeah yeah so I.

555

00:51:29.340 –> 00:51:46.740

Raymond Bonilla: yeah but I totally agree about the the history of things in its man, you know i’ve never I honestly believe, like if you’re not conscious or aware of illustrators and painters, or just aware of the history you’re really starting to grow as an artist.

556

00:51:48.150 –> 00:51:57.810

Raymond Bonilla: Because you just don’t know what’s possible I mean I remember when I was a student I ran across I was I tell this story often I was.

557

00:51:58.260 –> 00:52:15.450

Raymond Bonilla: Studying to be I wanted to become an animator and early on, and I was just going over everything Disney and any DVD and get my hands on with it behind the scenes, because you know YouTube wasn’t really around like it is now, you know and.

558

00:52:16.590 –> 00:52:18.780

Raymond Bonilla: DVDs are still around so that tells you how old I am.

559

00:52:19.890 –> 00:52:22.080

Raymond Bonilla: And I was looking at a.

560

00:52:23.520 –> 00:52:26.490

Raymond Bonilla: But the added DVD of treasure planet anybody remember that.

561

00:52:26.790 –> 00:52:27.150

Cassandra Loomis Kim: Oh yeah.

562

00:52:27.720 –> 00:52:28.680

Raymond Bonilla: yeah so.

563

00:52:30.720 –> 00:52:38.970

Raymond Bonilla: And I would just watch it over and over and over again, because I was just you know it wasn’t the like the greatest it was a flop for Disney huge expensive flop, but.

564

00:52:39.450 –> 00:52:50.190

Raymond Bonilla: It was such a beautiful movie and I didn’t understand why night why I just was just enamored with it and they did it behind on the DVD they actually had a.

565

00:52:50.910 –> 00:53:00.570

Raymond Bonilla: A whole documentary on the visual inspiration for it, and that was an nc wyeth and the brandywine artists and I was the first time that I came across.

566

00:53:02.190 –> 00:53:17.520

Raymond Bonilla: Their work and I was just shocked, because I didn’t realize, you know imagery could be that powerful i’ve never seen anything like that in my life, and I just thought think to myself, like had, I never seen that had, I never was like you know aware of it, I.

567

00:53:18.660 –> 00:53:21.990

Raymond Bonilla: don’t think I would have gone down the path that have gone down, you know.

568

00:53:23.850 –> 00:53:30.030

Raymond Bonilla: And so it’s it’s just you know you just you don’t know until you see it, you know you don’t know what you don’t know you know.

569

00:53:31.470 –> 00:53:33.300

Raymond Bonilla: You got to kind of see it to believe it, you know.

570

00:53:34.320 –> 00:53:47.910

Terry Brown: I used to timeline in my class that PIC of the movies see think of the imagery that job for grew up with it was nc wyeth and and the brandywine those adventure books.

571

00:53:48.420 –> 00:53:51.660

Terry Brown: yeah and made all those great movies in the 30s and 40s.

572

00:53:52.410 –> 00:54:02.940

Terry Brown: Right who saw those as a kid well, they were Steven Spielberg so he made his movies, and then there’s a generation that grew up with the kind of creative inventive visual.

573

00:54:04.050 –> 00:54:09.840

Terry Brown: perfection of a Spielberg movie they’re making our imagery today it’s kind of it’s kind of timeline to it and.

574

00:54:10.020 –> 00:54:13.650

Terry Brown: What you grow up with I think affects you in a big way it’s.

575

00:54:15.750 –> 00:54:31.230

Raymond Bonilla: yeah absolutely yeah and and it’s knowing the I think the like the extra step as like artists is is knowing you know who influenced the people that influenced us, you know, and you find it’s always like kind of you always find.

576

00:54:32.250 –> 00:54:38.820

Raymond Bonilla: You know, like a, at least for me, I found that like artists, that I really love his work i’ve just just enamored with.

577

00:54:39.630 –> 00:54:50.610

Raymond Bonilla: they’re all everyone’s kind of looking at each other’s work and everybody’s influenced by each other’s work, you know, because from from there, you know I you know just found out like.

578

00:54:51.780 –> 00:54:58.980

Raymond Bonilla: You know you go from the 30s to the you know the turn of the century, and then you have you know lydekker, then you have then Rockwell.

579

00:54:59.400 –> 00:55:09.360

Raymond Bonilla: Like you start to see all these these connection connection points and you could see like you know brand new wine school in in tons of concept artwork now you know.

580

00:55:09.960 –> 00:55:16.110

Raymond Bonilla: If you know what you’re looking for and people might not know the reference to them, I mean they would but you know you could.

581

00:55:16.980 –> 00:55:28.710

Raymond Bonilla: The average sort of the beginning art student probably wouldn’t know that like Oh, you know that you know that giant you know the it like a classic image of a giant walking on the beach in the clouds you know.

582

00:55:29.850 –> 00:55:44.370

Raymond Bonilla: Like that atmosphere like oh that’s an nc wyeth reference like that’s been used, you know i’ve seen that that use so many like as much time does like the man sit, you know standing on the rock with the crashing waves I forgot which.

583

00:55:45.750 –> 00:55:46.110

Raymond Bonilla: You know.

584

00:55:47.640 –> 00:55:49.110

Raymond Bonilla: Who was the artists behind that but.

585

00:55:50.580 –> 00:55:52.110

Raymond Bonilla: yeah it’s just like one of these types of.

586

00:55:53.280 –> 00:56:10.710

Raymond Bonilla: These tropes you know and and I was going through a divorce, he went to a show with the about Leonardo da Vinci and they had this section where they had artists that were influenced by the Vinci, and you can see.

587

00:56:11.940 –> 00:56:24.030

Raymond Bonilla: All of these dementia mannerisms in the other artists work like the eye or like how he did hair and one painting kind of showed up in another one kind of a different take, but it was still the same thing you know.

588

00:56:25.230 –> 00:56:28.260

Raymond Bonilla: And I thought to myself Oh, my goodness they’ve been doing this for centuries, you know.

589

00:56:28.350 –> 00:56:30.060

Raymond Bonilla: Artists have been influencing other artists and.

590

00:56:30.060 –> 00:56:38.700

Raymond Bonilla: Just being aware, can you imagine ours, that being then not being aware of Leonardo da Vinci and I kind of feel the same way when it comes to like you know.

591

00:56:39.660 –> 00:56:49.800

Terry Brown: Focusing they were focusing on different things, and if you get that in the back of your mind you think of Howard pyle said don’t pick the sleeve.

592

00:56:50.700 –> 00:57:00.900

Terry Brown: be the arm feel the essence So if you look at the brand new Agnes very true if you look at the brandywine painting they spend a whole lot more time painting the hand than they did painting street.

593

00:57:01.410 –> 00:57:08.160

Terry Brown: And you mentioned skyline Decker from the teens and 20s he spent his whole day just painting the clothes like you did.

594

00:57:08.160 –> 00:57:08.880

Terry Brown: Last week.

595

00:57:09.090 –> 00:57:11.550

Terry Brown: Here, he couldn’t care less than the guy look like it was.

596

00:57:12.150 –> 00:57:13.470

Terry Brown: his friend Charlie beach so.

597

00:57:14.730 –> 00:57:15.600

Terry Brown: Every time so.

598

00:57:16.050 –> 00:57:22.260

Terry Brown: it’s like you sweat you enjoy focusing on becomes becomes your passion.

599

00:57:22.830 –> 00:57:23.880

Raymond Bonilla: yeah absolutely.

600

00:57:23.970 –> 00:57:26.400

Terry Brown: So welcome back how’s your artwork going there rick.

601

00:57:26.910 –> 00:57:29.970

Raymond Bonilla: it’s it’s going very, very busy it’s a.

602

00:57:30.840 –> 00:57:31.650

Terry Brown: Drawing right now.

603

00:57:32.700 –> 00:57:37.230

Raymond Bonilla: Oh, this oh I don’t know yet i’ll find out, you know when.

604

00:57:38.340 –> 00:57:42.720

Raymond Bonilla: The timer goes off or something you know, and if it’s bad i’ll just blame my audio you know.

605

00:57:46.470 –> 00:57:51.390

Raymond Bonilla: But it’s it’s really it feels really good to be back in and drawing with.

606

00:57:52.410 –> 00:58:08.520

Raymond Bonilla: With everyone it’s always a real privilege, I was you know i’ve been meaning to come back for weeks now, but I have been secretly in the background, you know looking always looking at everyone’s drives it’s always fantastic and and also.

607

00:58:09.630 –> 00:58:17.490

Raymond Bonilla: catching up on studio bridge and I just was spent the morning watching the second part of Catherine lambs.

608

00:58:18.630 –> 00:58:19.530

John English: Was that scary.

609

00:58:19.980 –> 00:58:23.490

Raymond Bonilla: Oh, my goodness, I went to my wife I says.

610

00:58:25.290 –> 00:58:27.570

Raymond Bonilla: You know she’s Michigan 24.

611

00:58:29.070 –> 00:58:32.160

John English: Somewhere in there really she’s very young.

612

00:58:32.880 –> 00:58:33.870

John English: And I said hey.

613

00:58:35.040 –> 00:58:49.620

Raymond Bonilla: This this woman’s an animal she’s good I mean like what this is like the most of the most incredible powerful workup i’ve seen like I was just stunned, you know, and I loved her her journey to that you know and.

614

00:58:50.790 –> 00:58:53.970

Raymond Bonilla: It just yeah, but I just really, really enjoyed.

615

00:58:53.970 –> 00:58:55.890

John English: want to chime in on that a little bit rate.

616

00:58:56.220 –> 00:59:00.420

John English: How easily she put those pictures together.

617

00:59:00.930 –> 00:59:03.330

John English: And how easily she did her.

618

00:59:04.950 –> 00:59:13.860

John English: You know the putting those thumbnails together and designing that piece, it was really impressive i’ve been very few that can do that at that.

619

00:59:13.890 –> 00:59:14.250

Raymond Bonilla: yeah.

620

00:59:14.310 –> 00:59:15.570

John English: we’re certainly at that pace.

621

00:59:16.170 –> 00:59:18.180

Raymond Bonilla: yeah absolutely absolutely.

622

00:59:18.600 –> 00:59:19.980

John English: And then she’s interested.

623

00:59:20.400 –> 00:59:29.910

Raymond Bonilla: yeah the gorgeous and really well thought out and just you know her you know I won’t spoil too much because For those of you haven’t signed up sign up for studio bridge.

624

00:59:30.480 –> 00:59:35.430

Raymond Bonilla: You get all this stuff on demand, if i’m correct right, even if you missed it yeah so it’s like.

625

00:59:36.390 –> 00:59:52.200

Raymond Bonilla: Just I mean it’s just take a look at Catherine lands work, I mean the one with the student work the piece with the with the news that was the pit the frame the picture frame it was symbolic for the news.

626

00:59:52.560 –> 00:59:54.810

Raymond Bonilla: Right other woman standing in the bed, I was like.

627

00:59:56.220 –> 01:00:00.420

Raymond Bonilla: that’s brilliant you know and yeah that’s that’s a.

628

01:00:01.980 –> 01:00:02.580

John English: And she is.

629

01:00:03.570 –> 01:00:29.100

John English: Catherine is you know just a great example of a very fresh face to the industry within the last few years that knew what she wanted to do and and developed a body of work that was appropriate for where she wanted to go and boy did she put it to work man.

630

01:00:29.760 –> 01:00:35.460

Raymond Bonilla: yeah yeah and was very extremely focused, I was really impressed, you know.

631

01:00:36.570 –> 01:00:41.130

Raymond Bonilla: And you could tell that stuff doesn’t happen on by accident, you know she was.

632

01:00:42.870 –> 01:00:49.530

Raymond Bonilla: I mean, she worked you could tell she put in the hours to get up to that level that young you know um.

633

01:00:49.980 –> 01:00:51.450

Tim Trabon: yeah it seems like there was this like.

634

01:00:51.480 –> 01:00:53.550

Tim Trabon: there’s so much intention with.

635

01:00:53.670 –> 01:00:57.270

Tim Trabon: The legions if it didn’t just like happened by accident.

636

01:00:57.300 –> 01:00:58.230

Tim Trabon: Like you said well.

637

01:00:58.680 –> 01:01:00.120

Tim Trabon: there’s a lot of intention.

638

01:01:01.890 –> 01:01:12.990

Tim Trabon: You know I mean I think about that john I mean just to go full circle, when I think of our classes, that when they you start like kind of day one it’s like what do you want to do.

639

01:01:14.100 –> 01:01:21.150

Tim Trabon: Okay yeah students, what do you want to do and from there, everything you do should be to work towards that.

640

01:01:21.600 –> 01:01:25.020

John English: yeah ready, did you hear katherine’s.

641

01:01:26.610 –> 01:01:28.920

John English: discussion which i’m going to.

642

01:01:30.420 –> 01:01:35.640

John English: Post about this from the Academy, but we have an assignment at the Academy, called the flat assignment.

643

01:01:36.720 –> 01:01:50.760

John English: And it’s the help students understand that picture, making is not about as much about Polish and finished, as most people think it is it’s about concept it’s about construction and and.

644

01:01:51.990 –> 01:01:54.330

John English: and shape design and.

645

01:01:55.380 –> 01:02:09.060

John English: Her if you look at her work she talked about the work that she’s doing now, and how influence, she was from that that one assignment and you can see it in her work now I mean.

646

01:02:09.180 –> 01:02:09.870

Absolutely.

647

01:02:11.310 –> 01:02:12.300

Raymond Bonilla: Absolutely.

648

01:02:13.500 –> 01:02:29.760

Raymond Bonilla: it’s a it wasn’t kind of night and day difference in my career was strong but but, but after illustration Academy, you can tell the amount of intent, you know it was like almost an artist, the amount of her voice was coming through.

649

01:02:31.170 –> 01:02:49.290

Raymond Bonilla: Was was really stunning, to see that you know what, when what when you know from what was what were just really wonderfully beautiful pictures became pieces of artwork that had a concept behind it in a design that supported that concept in this.

650

01:02:50.490 –> 01:02:55.890

Raymond Bonilla: You know that was a illustrated in a really eloquent manner so um you know in.

651

01:02:56.790 –> 01:03:07.500

Raymond Bonilla: yeah she doesn’t waste value, I can tell you that and it’s just really, really just such such wonderful design, it was it was really great I was really excited to see your work after you had told me that she was coming down.

652

01:03:10.200 –> 01:03:12.900

Raymond Bonilla: To talk and it was it was great you know.

653

01:03:14.160 –> 01:03:20.460

Raymond Bonilla: Yes, I recommend, those of you that sign up and just take a look at that, I mean that’s that that is a.

654

01:03:21.720 –> 01:03:27.090

Raymond Bonilla: really incredible talk, you know i’m glad I went i’m glad I went before Catherine let’s just say that.

655

01:03:36.060 –> 01:03:39.690

John English: catherine’s also like a great example of.

656

01:03:40.860 –> 01:03:44.970

John English: Very contemporary illustration, and she does a lot of like New York time dailies.

657

01:03:46.260 –> 01:03:49.260

John English: And those those illustrations are made in six hours.

658

01:03:50.520 –> 01:03:58.740

John English: I mean, she did the work is so has to turn around so fast and.

659

01:04:02.130 –> 01:04:03.810

John English: She talks about that quite a bit.

660

01:04:04.470 –> 01:04:04.890

Raymond Bonilla: mm hmm.

661

01:04:05.310 –> 01:04:07.050

John English: She also discusses.

662

01:04:08.580 –> 01:04:09.090

John English: The.

663

01:04:10.200 –> 01:04:18.960

John English: You know, learning how to adapt to be in an illustrator and being on assignment and and really.

664

01:04:20.010 –> 01:04:21.480

John English: Trying to be.

665

01:04:23.370 –> 01:04:31.890

John English: schedule your time appropriately and be efficient, I think I think Catherine did a great job discussing all that was very open about it.

666

01:04:34.800 –> 01:04:38.940

Terry Brown: that’s, what are the key elements of illustration, is timing you’ve got a deadline.

667

01:04:40.380 –> 01:04:49.290

Terry Brown: you’ve got to deliver a quality product and we hired again on a specific time scale and if you’ve only got a few hours that’s all you’ve got.

668

01:04:49.770 –> 01:04:58.440

Terry Brown: You can’t tell an art director well I can’t do it you’re going to do it it’s Thomas Jefferson said you want something done well give it to the person who doesn’t have the time to do.

669

01:04:59.970 –> 01:05:06.540

Terry Brown: All your energies focus on getting that final product out the door and then you move on to the next one.

670

01:05:08.250 –> 01:05:17.490

Terry Brown: I hope all of you who’ve done this for many years that’s part of the joy that is you diet now you go on to the next one.

671

01:05:18.660 –> 01:05:19.500

Terry Brown: You connect sale.

672

01:05:20.550 –> 01:05:25.950

John English: Great Chris pains definition of illustration, is part and under the circumstances.

673

01:05:28.320 –> 01:05:29.460

John English: that’s so perfect.

674

01:05:35.610 –> 01:05:40.830

Terry Brown: One of the great stories of the past of the artists who could never finishes work is Johnny Ghanem.

675

01:05:42.750 –> 01:05:47.790

Terry Brown: Who did all those marvelous ads for for sheet companies.

676

01:05:49.380 –> 01:05:53.250

Terry Brown: And created betting companies white on white with.

677

01:05:54.090 –> 01:06:08.130

Terry Brown: The woman in there with the kids because the guy couldn’t be in bed with her she’s wearing white white or white on white and the art director would come over to a studio and physically say there’s a phone call for you, when you got the answer the phone he takes the art off the easel.

678

01:06:08.700 –> 01:06:10.110

Terry Brown: Because this guy was never done.

679

01:06:11.640 –> 01:06:12.300

Terry Brown: I can use it.

680

01:06:12.360 –> 01:06:12.930

Terry Brown: By.

681

01:06:13.620 –> 01:06:14.970

Terry Brown: yeah move on to the next one.

682

01:06:16.860 –> 01:06:17.550

John English: that’s fine.

683

01:06:17.790 –> 01:06:19.350

Terry Brown: Those those are the circumstances.

684

01:06:22.140 –> 01:06:29.730

Terry Brown: I bet john your dad could tell stories of having to be finished on time to meet the conductor or the train was going to take the original in the midnight.

685

01:06:30.930 –> 01:06:43.890

John English: yeah well, I think we, one of the reasons my dad seeking out that property at the end of our street little town of reading Connecticut there was a train station.

686

01:06:44.910 –> 01:06:48.240

John English: And he used to pay the conductors.

687

01:06:49.680 –> 01:06:53.400

John English: That we’re going into Manhattan to deliver all of his artwork for him.

688

01:06:54.600 –> 01:07:12.150

John English: And so, he would finish the finish the work and early in the morning, meet the train at at whatever training as soon as he could get there that the probably the 645 or 730 train and an hour and a half later, it would be in the.

689

01:07:13.590 –> 01:07:14.910

John English: The hands of the art director.

690

01:07:17.310 –> 01:07:19.890

John English: And I just that’s so romantic that you know.

691

01:07:20.280 –> 01:07:20.580

Raymond Bonilla: I think.

692

01:07:21.150 –> 01:07:22.740

John English: That was technology at the time.

693

01:07:23.160 –> 01:07:24.570

Terry Brown: It was intelligences.

694

01:07:24.870 –> 01:07:34.680

John English: It did tell a really funny story about he had a dog that jumped in the back of his convertible and drove to the station with him.

695

01:07:35.790 –> 01:07:45.120

John English: hi Ted handed the guy that the artwork the dog jumped aboard the train and and as the train was moving and and his.

696

01:07:45.420 –> 01:08:00.360

John English: father’s description of it, he said about three or 400 yards down, you know he’s just what he didn’t know what to do, the training left in his dogs on the train going to New York City and so said about 300 yards down the track his dog just they just threw him off the train.

697

01:08:01.590 –> 01:08:04.170

John English: Was gonna fly into the into the bushes.

698

01:08:07.980 –> 01:08:08.430

Raymond Bonilla: what’s good.

699

01:08:08.700 –> 01:08:09.360

John English: Old World.

700

01:08:09.960 –> 01:08:10.980

Raymond Bonilla: yeah yeah.

701

01:08:12.750 –> 01:08:24.870

Raymond Bonilla: David grove used to tell me stories about how he would be flying flying is like convertible like over the hills of San Francisco to try and get to the airport.

702

01:08:26.490 –> 01:08:31.800

Raymond Bonilla: In order to get to that the special art ship or that would ship is illustration know like just in time.

703

01:08:34.230 –> 01:08:34.920

Raymond Bonilla: yeah.

704

01:08:40.380 –> 01:08:44.670

Terry Brown: So if you doing something digitally now it’s just a question of when you press.

705

01:08:45.390 –> 01:08:49.710

Terry Brown: download to the cloud you probably don’t send your files anymore, you probably download them to something.

706

01:08:50.220 –> 01:08:53.850

Cassandra Loomis Kim: Well, you know the modern stresses like how’s your wi fi.

707

01:08:55.440 –> 01:08:56.430

Terry Brown: Yes.

708

01:08:57.690 –> 01:08:58.110

There is.

709

01:08:59.430 –> 01:09:00.480

Terry Brown: that it was an issue.

710

01:09:02.610 –> 01:09:09.990

Cassandra Loomis Kim: i’m like there’s been times, where it difficulty sending things, but nothing is that has been an issue with a deadline.

711

01:09:12.810 –> 01:09:18.750

Cassandra Loomis Kim: But yeah it’s not good, when you need to get something for me it’s just image Nino simple images no big deal.

712

01:09:22.860 –> 01:09:24.120

Raymond Bonilla: yeah but usually, when something.

713

01:09:25.350 –> 01:09:30.900

Raymond Bonilla: If something’s going to fail, usually happens, you know right right at the last minute, so i’m always.

714

01:09:32.550 –> 01:09:38.820

Raymond Bonilla: stressed out because I hear it when i’m sending off a piece of artwork because I I hear so many horror stories like.

715

01:09:40.110 –> 01:09:51.870

Raymond Bonilla: You know nightmares where I get an email from the art director saying like is everything Okay, we didn’t receive your artwork and it’s a week late and i’m like oh no I sent it, you know so.

716

01:09:53.280 –> 01:09:54.540

Raymond Bonilla: We are here to.

717

01:09:55.200 –> 01:10:04.650

Cassandra Loomis Kim: I still stressed about shipping and I had a piece on a truck certainly you know charleston South Carolina for four days, and it was supposed to be there between.

718

01:10:05.040 –> 01:10:15.060

Cassandra Loomis Kim: This past Friday and Monday and their weather was bonkers so just date on the truck for four days and i’ve just sent emails quits and so sorry it’s near you, but not with you.

719

01:10:16.410 –> 01:10:18.120

Raymond Bonilla: yeah that’s the that’s the.

720

01:10:19.830 –> 01:10:21.360

Raymond Bonilla: Shipping stuff for galleries.

721

01:10:22.110 –> 01:10:29.100

Tim Trabon: I was just trying to look up the tips and tricks I used to follow to submit assignments late.

722

01:10:32.820 –> 01:10:38.190

Tim Trabon: And there was the thing I used to do with files or would make it look like it was a complete file.

723

01:10:41.130 –> 01:10:41.430

Tim Trabon: and

724

01:10:42.660 –> 01:10:47.850

Tim Trabon: And it by you, it by you, I mean like if the teacher wasn’t On top of that game by like 72 hours.

725

01:10:51.030 –> 01:10:52.020

Terry Brown: bad form.

726

01:10:52.260 –> 01:10:57.930

Tim Trabon: Because, then it then it comes down to if How long are they gonna procrastinate bringing up the broken file to you.

727

01:10:58.500 –> 01:11:02.130

Raymond Bonilla: So this is what illustration isolation is turned into since i’ve been gone.

728

01:11:02.250 –> 01:11:03.420

Tim Trabon: But then I looked.

729

01:11:03.930 –> 01:11:04.830

Raymond Bonilla: At these tips.

730

01:11:06.660 –> 01:11:14.910

Tim Trabon: I tried looking it up online how to buy more time on your assignment and the number one suggestion on wiki how is blame technology.

731

01:11:17.400 –> 01:11:18.030

Like yeah.

732

01:11:22.020 –> 01:11:28.410

Tim Trabon: there’s a show on HBO called the other two and it’s like an aspiring actor and he gets signed to an agent.

733

01:11:31.500 –> 01:11:38.910

Tim Trabon: predicated on the idea that he’s a writer too and he’s he’s not a writer, and he knows he knows her a screenplay.

734

01:11:40.020 –> 01:11:42.690

Tim Trabon: And he’s got to like write a screenplay that weekend and.

735

01:11:44.640 –> 01:11:48.000

Tim Trabon: In a manic state he just submits a title page.

736

01:11:50.760 –> 01:11:57.690

Tim Trabon: And the story then becomes a freaking out because the actor is approaching her and she’s like I never read a script.

737

01:12:00.390 –> 01:12:01.530

Tim Trabon: he’s like oh my God.

738

01:12:03.570 –> 01:12:17.310

Tim Trabon: yeah I love that stuff I mean I wasn’t yeah for an English major I wasn’t I never understood that, like page, you know the sticklers for like page requirements and word count.

739

01:12:18.990 –> 01:12:25.830

Terry Brown: there’s that scary scene at the opening of where the buffalo roam the hunter s Thompson movie with.

740

01:12:28.410 –> 01:12:42.120

Terry Brown: Be with bill Murray, and his phone keeps ringing because it’s Rolling Stone and he’s missing his deadline and he’s got a fax machine, so he just takes up some some newspaper tears it up and throws it in the fax machine is yeah go ahead chew on that for a while.

741

01:12:44.610 –> 01:12:51.720

Terry Brown: Technology of its day he probably sitting back Sir that’s sketches Johnny said faxed sketches when you were young.

742

01:12:52.080 –> 01:12:54.240

John English: I did a lot had a fax machine.

743

01:12:55.260 –> 01:12:55.770

John English: If you.

744

01:12:56.940 –> 01:13:00.600

John English: I think if you were doing work with Gary Kelly right now you’d probably get facts.

745

01:13:03.420 –> 01:13:04.020

Terry Brown: To go.

746

01:13:09.270 –> 01:13:09.600

Cassandra Loomis Kim: My.

747

01:13:10.380 –> 01:13:16.860

Cassandra Loomis Kim: sweet older neighbor was just trying to get me to fax something for her, and I was like, how do we just scan it and email it.

748

01:13:19.200 –> 01:13:20.040

John English: Without work.

749

01:13:21.180 –> 01:13:25.290

Tim Trabon: yeah did your neighbor go I, I understand, to have the words you just.

750

01:13:26.160 –> 01:13:31.230

Cassandra Loomis Kim: yeah she’s really sweet but she’s definitely older, so I just did it for her and then everything was OK.

751

01:13:31.740 –> 01:13:33.390

Tim Trabon: OK, that was nice of you.

752

01:13:34.170 –> 01:13:36.390

Cassandra Loomis Kim: Just very nicely yeah.

753

01:13:38.760 –> 01:13:42.480

Raymond Bonilla: yeah it’s just you know stuff some newspapers in.

754

01:13:43.530 –> 01:13:44.970

Raymond Bonilla: The fantasy and send it out.

755

01:13:47.670 –> 01:13:47.880

Raymond Bonilla: To.

756

01:13:48.930 –> 01:13:50.190

John English: buy some time to the.

757

01:13:55.710 –> 01:13:57.510

Tim Trabon: Hope you, I do not buy you some time.

758

01:14:02.370 –> 01:14:02.760

Tim Trabon: yeah.

759

01:14:04.980 –> 01:14:07.020

Raymond Bonilla: that’s great it’s good stuff.

760

01:14:07.560 –> 01:14:09.690

Terry Brown: You guys move along and number three pretty soon.

761

01:14:12.210 –> 01:14:12.480

Raymond Bonilla: yeah.

762

01:14:13.470 –> 01:14:15.030

John English: I didn’t I didn’t draw number two.

763

01:14:16.470 –> 01:14:19.800

Tim Trabon: All right, so yeah we do need Terry that’s a good point because we’re.

764

01:14:21.450 –> 01:14:23.790

Tim Trabon: we’re we’re definitely ready for number three.

765

01:14:23.940 –> 01:14:26.880

John English: it’s exactly right perfect time.

766

01:14:27.900 –> 01:14:33.870

Tim Trabon: yeah so just a reminder, be sure to post your work to instagram using hashtag illustration isolation.

767

01:14:34.530 –> 01:14:46.860

Tim Trabon: and add visual arts passage i’ll type in the chat but, before the nights over we’re will open up instagram will check out everybody’s both highly recommend it but uh don’t wait till the end you won’t have enough time.

768

01:14:48.810 –> 01:15:03.270

Terry Brown: It is great fun to see them, I shall tomorrow always enjoy your company gang race good to see you back here I don’t hold the fact that you’re from Queens against you, but someday we’re gonna have to get together and talk about the good old artist from the past.

769

01:15:03.810 –> 01:15:05.130

Raymond Bonilla: they’ve been incredible very.

770

01:15:05.640 –> 01:15:08.430

Terry Brown: Good luck and good luck on number three and four i’ll see you next week.

771

01:15:08.640 –> 01:15:10.980

Raymond Bonilla: Thanks Harry Harry Harry great Sir.

772

01:15:11.370 –> 01:15:11.850

yeah.

773

01:15:18.060 –> 01:15:19.440

Raymond Bonilla: That was Terry brown wow.

774

01:15:21.960 –> 01:15:22.140

Cassandra Loomis Kim: He.

775

01:15:22.410 –> 01:15:23.040

Raymond Bonilla: Was awesome.

776

01:15:23.310 –> 01:15:28.350

Cassandra Loomis Kim: he’s got a story for everything like he’s he’s connected to all aspects of life it’s amazing.

777

01:15:31.710 –> 01:15:36.300

John English: hey you know my perspective and rate, this probably happened to you a little bit.

778

01:15:37.860 –> 01:15:42.480

John English: too to beginning but man Terry will did a lot of power.

779

01:15:43.620 –> 01:15:44.280

Raymond Bonilla: Oh yeah.

780

01:15:44.370 –> 01:15:52.950

John English: You know, being the director of the society of illustrators he kind of kept that organization together and somebody you wanted to.

781

01:15:54.150 –> 01:15:57.120

John English: Make sure you are on the right side of the industry.

782

01:15:59.850 –> 01:16:01.200

John English: He got that he was.

783

01:16:01.740 –> 01:16:02.160

John English: You know.

784

01:16:03.900 –> 01:16:08.880

John English: An aggressive or had a bad side, he just had a lot he had a lot hit a big job.

785

01:16:11.160 –> 01:16:12.300

John English: lot of influence.

786

01:16:15.270 –> 01:16:15.900

Raymond Bonilla: And he was a.

787

01:16:16.950 –> 01:16:23.220

Raymond Bonilla: He still is still X, you know he’s still very much one to the steward of like the history of illustration, I mean it’s like.

788

01:16:24.420 –> 01:16:25.320

Raymond Bonilla: I just feel like he.

789

01:16:26.580 –> 01:16:37.950

Raymond Bonilla: You know, he knows what he has like the knowledge he’s been sharing it’s like a great responsibility on he feels responsible to pass it on as much as possible and i’ve always appreciated that about him.

790

01:16:39.480 –> 01:16:39.840

John English: yeah.

791

01:16:42.510 –> 01:16:46.290

John English: he’s you know he thinks about the legacy side of it a lot.

792

01:16:49.050 –> 01:16:51.060

John English: and actually now that’s.

793

01:16:52.650 –> 01:17:03.990

John English: had been and I don’t know if as much as it is now I don’t want to say anything negative about the society of illustrators, but it was very much, I think.

794

01:17:05.010 –> 01:17:09.990

John English: You know they cured it curated American illustration for since 1901 and.

795

01:17:11.790 –> 01:17:14.220

John English: I hope that I hope it keeps going that direction.

796

01:17:17.220 –> 01:17:21.510

Raymond Bonilla: Absolutely, especially for that next generation coming and they just.

797

01:17:23.340 –> 01:17:24.480

Raymond Bonilla: important institution.

798

01:17:25.050 –> 01:17:25.590

Cassandra Loomis Kim: mm hmm.

799

01:17:26.700 –> 01:17:27.000

Raymond Bonilla: You know.

800

01:17:30.540 –> 01:17:31.500

John English: it’s important to us.

801

01:17:32.130 –> 01:17:33.330

Raymond Bonilla: yeah absolutely.

802

01:17:37.560 –> 01:17:44.430

Raymond Bonilla: I mean, where else can you sit down and have a drink, you know next to looking at of Norman Rockwell you know.

803

01:17:46.020 –> 01:17:48.330

Raymond Bonilla: And then over your shoulders at nc wyeth and.

804

01:17:50.160 –> 01:17:59.340

Raymond Bonilla: You know it’s just like you have like the drum where people like frank rosetta and Austin briggs you know signed signed it, you know.

805

01:18:01.980 –> 01:18:04.770

Raymond Bonilla: Your dad your dad time that the drum.

806

01:18:05.340 –> 01:18:05.940

John English: yep john.

807

01:18:06.840 –> 01:18:09.450

Raymond Bonilla: Was is, you have the first the second one I.

808

01:18:09.630 –> 01:18:10.830

John English: think the first one.

809

01:18:13.530 –> 01:18:17.760

John English: He he was, I mean he was part of the hall of fame when he was.

810

01:18:19.140 –> 01:18:19.830

John English: He was early.

811

01:18:22.230 –> 01:18:26.070

John English: It you know, he was, I think he was 43 years old.

812

01:18:26.730 –> 01:18:28.110

Cassandra Loomis Kim: wow wow.

813

01:18:30.630 –> 01:18:34.860

John English: I think the only one younger than him to do it was was burning.

814

01:18:37.590 –> 01:18:37.800

Raymond Bonilla: out.

815

01:18:37.980 –> 01:18:40.740

Raymond Bonilla: How is this bread bread harlan when he when he entered in.

816

01:18:41.490 –> 01:18:41.910

John English: I don’t know.

817

01:18:45.120 –> 01:18:47.220

Cassandra Loomis Kim: Do you need to ask these questions when Terry was still here.

818

01:18:47.880 –> 01:18:48.960

Raymond Bonilla: yeah dang it Terry.

819

01:18:49.740 –> 01:18:53.280

John English: It all is it all it’s a moving target and all changes.

820

01:18:53.370 –> 01:18:54.600

Raymond Bonilla: You know so yeah now.

821

01:18:54.720 –> 01:18:57.300

John English: who won the most awards well that’s that’s all changed.

822

01:18:59.550 –> 01:19:05.580

John English: My dad like to point out to everybody knows he said when I quit illustrating I had one one is anybody.

823

01:19:08.880 –> 01:19:13.800

John English: You stay because the first person to surpassing was Gary.

824

01:19:14.190 –> 01:19:15.600

Raymond Bonilla: Was Gary right so.

825

01:19:15.660 –> 01:19:18.630

John English: Gary brad I think Gary Gary brad.

826

01:19:20.100 –> 01:19:22.020

John English: there’s a whole bunch of them that are real close now.

827

01:19:23.790 –> 01:19:24.390

John English: But.

828

01:19:25.650 –> 01:19:32.010

John English: He told Gary what I did dinner, he said so, how many of you do the how many of those words, did you win, win your past 50.

829

01:19:38.790 –> 01:19:40.320

John English: He wasn’t competitive at all.

830

01:19:43.590 –> 01:19:43.860

Raymond Bonilla: But.

831

01:19:46.170 –> 01:19:56.940

Tim Trabon: here’s a question from the crowd that I thought would be good is do you guys have any comic book artists, that you would recommend checking out if you’re interested in pursuing that.

832

01:19:59.070 –> 01:20:00.090

John English: You want to go first.

833

01:20:00.510 –> 01:20:02.280

Raymond Bonilla: yeah I got a laundry list.

834

01:20:03.660 –> 01:20:04.410

Raymond Bonilla: So.

835

01:20:04.860 –> 01:20:13.350

Raymond Bonilla: I mean there’s like artists to look at I mean there’s there’s so many of them like I love.

836

01:20:14.670 –> 01:20:16.500

Raymond Bonilla: Fiona staples work, who do did.

837

01:20:17.640 –> 01:20:21.480

Raymond Bonilla: Oh, my goodness i’m blanking on the series that that she did.

838

01:20:24.150 –> 01:20:25.380

Raymond Bonilla: sock was a saga.

839

01:20:25.770 –> 01:20:27.150

Tim Trabon: Think i’m gonna check.

840

01:20:28.230 –> 01:20:40.470

Raymond Bonilla: yeah so like YouTube wise where you can go to right now, like David finch Jim Lee they have like YouTube channels up and just chill chock full of just tutorials and.

841

01:20:41.010 –> 01:20:54.420

Raymond Bonilla: And i’m drawing talking about are talking about the industry, I mean just you know, and it really for two people that really stress really solid foundations and having an intent and put the proper picture, making procedures and.

842

01:20:55.980 –> 01:20:57.030

Tim Trabon: Fiona stable.

843

01:20:58.020 –> 01:21:06.150

Raymond Bonilla: There it is oh yeah yeah I love it I love saga so much I got actually that that wrap up to me.

844

01:21:07.980 –> 01:21:11.250

Tim Trabon: Man I don’t know, I was buying the books for a while I need to.

845

01:21:12.750 –> 01:21:14.220

Tim Trabon: I need to i’m behind.

846

01:21:16.680 –> 01:21:22.170

Raymond Bonilla: yeah totally me too okay so we’re in the same same same predicament, you know.

847

01:21:23.490 –> 01:21:36.450

Raymond Bonilla: Where there’s like a lot of incredible artists working in the comic book industry it’s, just like the illustration industry like you stop for like two seconds and john can attest to this like if you’re not aware, like coke just like you wake up.

848

01:21:37.590 –> 01:21:42.810

Raymond Bonilla: You won’t recognize anyone who’s working you know, at a certain point you’re like whoa where’d all these people come from you know.

849

01:21:44.010 –> 01:21:45.630

Raymond Bonilla: Because people move in and out of that.

850

01:21:46.770 –> 01:21:49.410

Raymond Bonilla: A good amount, I mean I was just talking to.

851

01:21:50.850 –> 01:21:54.000

Raymond Bonilla: A friend of mine his name is Paul Rivera do you know paul’s work john.

852

01:21:54.690 –> 01:21:59.760

Raymond Bonilla: I don’t is worked for marvel.

853

01:22:00.810 –> 01:22:14.850

Raymond Bonilla: valiant I mean all the major companies, but he was he had done like a really incredible painted comic book series called me ethos and and they really based the captain America movie a lot on his.

854

01:22:15.840 –> 01:22:27.180

Raymond Bonilla: On his expanded comic book, which is crazy so now he’s working he’s actually went from that to working in concept art for marvel so, and you know.

855

01:22:27.270 –> 01:22:29.070

John English: They do know who you talk about now.

856

01:22:32.610 –> 01:22:33.750

John English: How old is he.

857

01:22:35.250 –> 01:22:42.300

Raymond Bonilla: he’s a little older than I am he’s in his 40s early 40s I think I don’t think he’s that much older than that.

858

01:22:45.000 –> 01:22:47.280

Raymond Bonilla: Scott, a lot more hair than I do now.

859

01:22:49.230 –> 01:22:50.310

Raymond Bonilla: On his head, you know.

860

01:22:52.110 –> 01:22:53.070

Raymond Bonilla: he’s uh.

861

01:22:54.870 –> 01:22:55.380

Raymond Bonilla: he’s.

862

01:22:56.490 –> 01:23:01.380

Raymond Bonilla: Trying to think of like who he went to I think he went to ringling actually to be honest, to be I think he went to me.

863

01:23:03.030 –> 01:23:05.550

Raymond Bonilla: So I don’t know George George would have ran into.

864

01:23:07.410 –> 01:23:08.070

Raymond Bonilla: At the time.

865

01:23:09.510 –> 01:23:10.770

Raymond Bonilla: But i’ll actually put his.

866

01:23:12.180 –> 01:23:26.280

Raymond Bonilla: His work in the chat because I really I think he, like bridges, the gap between like it was like traditional illustration and back even figurative painting and comic books, because his process it’s just so.

867

01:23:27.960 –> 01:23:28.950

Raymond Bonilla: So incredible.

868

01:23:30.630 –> 01:23:31.950

John English: I feel that way about.

869

01:23:33.150 –> 01:23:34.950

John English: Jason Alexander and.

870

01:23:35.760 –> 01:23:36.870

Raymond Bonilla: Exactly yeah.

871

01:23:37.560 –> 01:23:41.910

John English: I feel the same way about that guy is a great painter doing comics.

872

01:23:42.390 –> 01:23:56.310

Raymond Bonilla: Oh yeah yeah that’s it that’s a he’s like on another level, you know, like I put him like like in the same vein, like thinking wise as George and Kent Williams and like you know.

873

01:23:56.760 –> 01:23:58.260

John English: feel like it doesn’t seem.

874

01:23:58.290 –> 01:23:59.130

John English: To leverage talent.

875

01:23:59.910 –> 01:24:15.600

Raymond Bonilla: yeah yeah absolutely absolutely yeah I was fortunate enough to meet them and run into when your comic con and we just talked painting, and it was just like wow this he’s like a painter painter like you talk to somebody like that, like wow you’re you’re a real artist.

876

01:24:18.840 –> 01:24:21.990

Raymond Bonilla: Like here’s the thing from earlier this morning, when you were in your studio.

877

01:24:23.070 –> 01:24:23.370

Raymond Bonilla: This is.

878

01:24:24.360 –> 01:24:27.210

John English: I really like looking at stuff that’s good yeah.

879

01:24:29.220 –> 01:24:36.390

Tim Trabon: john somebody just asked is ideation and visual storytelling appropriate for like an aspiring cartoonist or is it to fine art.

880

01:24:37.590 –> 01:24:37.950

Tim Trabon: know.

881

01:24:38.100 –> 01:24:40.560

John English: It would work very well for.

882

01:24:42.570 –> 01:24:46.980

John English: The whole idea is it’s a method to.

883

01:24:48.150 –> 01:24:50.130

John English: be a better visual storyteller.

884

01:24:51.420 –> 01:25:09.690

John English: You get in a learning process of how to identify problems and solving this that solve them you with either conceptual or narrative solution and so it’s very broad and its outcome but it’s more about the process than anything and.

885

01:25:10.770 –> 01:25:16.950

John English: You know, good habits good you know, a way to be on target all the time way to be consistent.

886

01:25:19.500 –> 01:25:24.330

John English: And it’s you know said word console a teaching the class he’s he’s okay.

887

01:25:26.760 –> 01:25:28.290

Raymond Bonilla: Is that solid B minus john.

888

01:25:28.410 –> 01:25:29.130

decided.

889

01:25:30.720 –> 01:25:39.990

Tim Trabon: hey Ray I found your copy of saga on Amazon it’s the first compendium and it’s 1400 pages.

890

01:25:43.740 –> 01:25:45.630

Tim Trabon: And it just sounds.

891

01:25:48.000 –> 01:25:48.960

Tim Trabon: So much better.

892

01:25:49.980 –> 01:25:55.050

Raymond Bonilla: just get yeah they’ll probably after probably special airlifted and then drop it off in a forklift you know.

893

01:25:57.540 –> 01:26:02.460

Raymond Bonilla: that’s that’s that’s fine 1400 pages wow wow wow wow.

894

01:26:03.810 –> 01:26:09.420

Tim Trabon: And i’m assuming the format is, you know as big as the book I just held up i’m assuming they kept it big.

895

01:26:09.450 –> 01:26:14.940

Raymond Bonilla: Oh yeah I would imagine, so I mean it’s wow that’s that’s crazy, I mean.

896

01:26:15.720 –> 01:26:17.880

Tim Trabon: You have to like reinforced my coffee table.

897

01:26:20.220 –> 01:26:22.230

Raymond Bonilla: The craziest thing if anybody’s ever read saga.

898

01:26:23.250 –> 01:26:27.990

Raymond Bonilla: it’s your staples very much a incredible storyteller.

899

01:26:29.190 –> 01:26:30.840

Raymond Bonilla: And it’s fully painted.

900

01:26:31.770 –> 01:26:33.000

Raymond Bonilla: yeah here I mean this is the.

901

01:26:33.300 –> 01:26:36.390

Raymond Bonilla: Full color I mean yeah let’s look at that, I mean that stuff is like.

902

01:26:38.160 –> 01:26:39.600

Raymond Bonilla: sighs i’m not showing up.

903

01:26:40.920 –> 01:26:41.610

Raymond Bonilla: Are we on a grid.

904

01:26:42.600 –> 01:26:42.960

Oh yeah.

905

01:26:47.880 –> 01:26:50.400

Raymond Bonilla: I so good, so good.

906

01:26:55.590 –> 01:26:56.040

Raymond Bonilla: yeah.

907

01:27:01.980 –> 01:27:03.420

Raymond Bonilla: output, the line cat.

908

01:27:03.990 –> 01:27:08.010

Tim Trabon: I didn’t even think I didn’t even think I didn’t look at that page, but I you kind of gotta be careful.

909

01:27:08.400 –> 01:27:10.080

Raymond Bonilla: yeah you have to be careful.

910

01:27:14.250 –> 01:27:16.350

Tim Trabon: Sorry, this is episodes are rated.

911

01:27:16.890 –> 01:27:17.280

yeah.

912

01:27:19.140 –> 01:27:20.850

Tim Trabon: yeah yeah.

913

01:27:21.390 –> 01:27:25.170

Raymond Bonilla: Okay, you can play me, you know i’m like I come every so often.

914

01:27:25.980 –> 01:27:26.700

Tim Trabon: yeah already.

915

01:27:26.970 –> 01:27:28.830

Raymond Bonilla: be blamed down, this is the reason why Dale.

916

01:27:28.860 –> 01:27:30.240

Raymond Bonilla: should never not you know.

917

01:27:31.200 –> 01:27:34.590

Tim Trabon: I already flipped to another page was like thank God it wasn’t that page.

918

01:27:37.050 –> 01:27:37.500

Tim Trabon: trouble.

919

01:27:39.930 –> 01:27:43.170

Raymond Bonilla: You know one thing I was going to say like like.

920

01:27:44.460 –> 01:27:54.810

Raymond Bonilla: The that students question about how it relates to cop, you know ideation and in that process that you guys see I mean it’s.

921

01:27:56.190 –> 01:28:06.150

Raymond Bonilla: If you look at someone like Fiona staples i’m sure like that’s all planned out, I mean that’s that’s careful consideration, I mean I know Apollo works and everything is just.

922

01:28:06.600 –> 01:28:15.540

Raymond Bonilla: It starts with thumbnails it starts with you know studying value pattern then reference build that it goes to the whole it goes through the whole process of me.

923

01:28:16.230 –> 01:28:28.530

Raymond Bonilla: And he still does that, I mean he’s such a consonant artists, you know it’s everything down to like you know sculpting the cats, for his his characters and.

924

01:28:30.030 –> 01:28:42.480

Raymond Bonilla: You know just said, for lighting reference and things like that, and how he goes about doing is really you know that that’s type of stuff that’s not exclusive to any sort of you know.

925

01:28:44.130 –> 01:28:45.870

Raymond Bonilla: I guess venue you would call it, you know.

926

01:28:47.160 –> 01:28:49.800

Raymond Bonilla: Because it’s the same stuff that I do for my gallery paint.

927

01:28:52.080 –> 01:28:59.640

Raymond Bonilla: And you know I don’t really see the difference, the only difference is application it’s where the work is going to be shown so I mean.

928

01:29:02.610 –> 01:29:05.070

Raymond Bonilla: I don’t know what is it was everybody else, think about that, I mean.

929

01:29:06.150 –> 01:29:06.750

John English: I think.

930

01:29:07.290 –> 01:29:07.590

John English: You know.

931

01:29:07.650 –> 01:29:14.040

John English: First of all, the illustration industry is a process driven industry so obviously a comic book comic work as to.

932

01:29:15.300 –> 01:29:15.780

John English: and

933

01:29:16.890 –> 01:29:24.660

John English: Understanding process, I mean just just the fact that that’s how you communicate, I mean as an illustrator your.

934

01:29:26.220 –> 01:29:33.540

John English: You you work for art directors and you have to communicate with them you communicate in communicate with them through a three value thumbnail.

935

01:29:33.900 –> 01:29:49.440

John English: Value study finished drawing whatever the the project requires but you know you don’t just get up one morning decide oh i’m going to do a Time Magazine cover so somebody it’s an assignment so you’re working with the team and.

936

01:29:52.050 –> 01:30:00.720

John English: You got to get in the habit process allows you to work in the right pipeline and it makes you a better artist immediately.

937

01:30:02.520 –> 01:30:03.570

John English: Because you get everything right.

938

01:30:06.660 –> 01:30:13.530

Cassandra Loomis Kim: Right, if you have your process down pat and it’s second nature, when you have to go, you know change something else.

939

01:30:13.530 –> 01:30:13.950

Cassandra Loomis Kim: You don’t.

940

01:30:14.760 –> 01:30:17.550

Cassandra Loomis Kim: know what you’re doing you can move at a higher speed.

941

01:30:21.600 –> 01:30:31.110

Raymond Bonilla: yeah you can’t have much of a career when you know if you have a process that you know where sometimes the peace comes out Okay, and sometimes it doesn’t and you don’t know why.

942

01:30:37.200 –> 01:30:43.710

Raymond Bonilla: There are a gallery owner or art director, say, give us five pieces for them to be okay.

943

01:30:46.560 –> 01:30:58.860

Tim Trabon: here’s a here’s an elaboration on the question right, it sounds like like they’re saying like cartoon for the new yorker say hey I think I know the answer but john I wanna I think it’s still practical.

944

01:30:59.400 –> 01:31:02.100

John English: Oh yeah very much so yeah.

945

01:31:05.550 –> 01:31:10.380

Tim Trabon: yeah like panel single panel cartooning yeah absolutely still yeah.

946

01:31:12.990 –> 01:31:20.430

John English: that’s that’s even more so it’s all it’s all idea it’s all concept and idea so.

947

01:31:21.810 –> 01:31:25.110

John English: have been well equipped that that is incredibly important.

948

01:31:28.920 –> 01:31:40.110

Raymond Bonilla: You think about somebody like jack Davis like how good of an artist, he was you know, like it’s just to be something that’s somebody that’s that quick and you have to be so facile.

949

01:31:40.770 –> 01:31:51.450

Raymond Bonilla: With what you’re doing like you have to have everything in such a streamlined process because efficiency is the name of the game, I mean like and.

950

01:31:53.250 –> 01:31:59.190

Raymond Bonilla: yeah I just thought you know it would I would love to wake up one day and be like okay i’m gonna go ahead and.

951

01:31:59.970 –> 01:32:10.860

Raymond Bonilla: Just you know i’m going to do this 30 by 40 painting and then yeah i’ll go home and maybe do a cover sure, and then I you know, I have a cup of tea and then maybe i’ll finish that uh.

952

01:32:11.790 –> 01:32:22.920

Raymond Bonilla: You know that entire comic book page and I was working on to you know, without any planning that’d be great but it’s just not the way it works, unfortunately, you know.

953

01:32:25.140 –> 01:32:27.630

Raymond Bonilla: didn’t didn’t mark Schultz john.

954

01:32:29.880 –> 01:32:31.110

Raymond Bonilla: Are you familiar with his work.

955

01:32:31.590 –> 01:32:32.310

John English: I know.

956

01:32:33.060 –> 01:32:33.810

But so.

957

01:32:35.820 –> 01:32:36.360

John English: Yes.

958

01:32:36.600 –> 01:32:40.470

Raymond Bonilla: yeah I know and you’ve told me that too and i’m like and I still say, have you heard you know.

959

01:32:43.470 –> 01:32:57.150

Raymond Bonilla: He did dinosaurs and cadillacs and dinosaurs was a series back in the 90s like MTV, but it was based off his comic book called zone tales and shelters done writing and.

960

01:32:58.710 –> 01:33:18.660

Raymond Bonilla: he’s done separately like isn’t conan and online so he was he had this talk and he talked about process and talked about how I mean just thorough, I mean we were just there he actually prints his books, plus pub job plus Prince does a lot of his art books for him.

961

01:33:19.470 –> 01:33:21.600

Raymond Bonilla: And he.

962

01:33:22.770 –> 01:33:30.240

Raymond Bonilla: Is there’s pages of it just says thumbnails for just a single image like and just they’re beautiful and I remember a talk he gave.

963

01:33:31.500 –> 01:33:50.760

Raymond Bonilla: Talking about how you know as it as artists, you have to you have to have a process, this is how you work things out, you have to work things out, he says, you know when you’re a student you learn, you have to go through the process of going from a consumer of art to a producer of art.

964

01:33:51.900 –> 01:34:04.470

Raymond Bonilla: And that is a very different mindset that you have to have this it’s a lot easier to consume this this stuff than it is to you know produce it and i’ve never heard somebody put it like that, you know.

965

01:34:05.670 –> 01:34:06.300

John English: Well, said.

966

01:34:13.680 –> 01:34:17.250

Raymond Bonilla: That being said, since you’ve never heard of him, I should have stopped that I should have taken the credit for it.

967

01:34:22.350 –> 01:34:22.980

John English: So.

968

01:34:24.510 –> 01:34:30.240

John English: whoever’s asking that question, I would, I would encourage you to look at my favorite new yorker.

969

01:34:32.460 –> 01:34:36.300

John English: illustrator cartoonist is john can you.

970

01:34:37.350 –> 01:34:37.980

Raymond Bonilla: Oh yeah.

971

01:34:38.730 –> 01:34:39.300

and

972

01:34:42.810 –> 01:34:46.170

John English: yeah you kind of have to watch his stuff too, if you were going to show it on.

973

01:34:46.620 –> 01:34:48.030

Raymond Bonilla: yeah yeah so.

974

01:34:48.630 –> 01:34:50.310

Raymond Bonilla: Today let’s not show that.

975

01:34:51.360 –> 01:34:52.860

Tim Trabon: Let me just pull up Google images.

976

01:34:56.310 –> 01:34:58.500

John English: Shared share your desktop to me what i’m saying.

977

01:34:58.560 –> 01:35:00.990

Tim Trabon: Well, that was that was you know.

978

01:35:02.400 –> 01:35:15.600

Tim Trabon: That I remember grabbing copies of like esquire when I was a kid and seeing his column, and it was it was just wild I was far too young to be stumbling across john cooney.

979

01:35:19.560 –> 01:35:33.840

Raymond Bonilla: it’s just incredible incredible do you think I wanted, I want to ask him, one day, you know if I ever run into him again this is like is this hand still drawing when he’s sleeping because the man does not stop I mean like.

980

01:35:34.920 –> 01:35:40.590

Raymond Bonilla: he’s just idea after idea after idea after idea i’ve never just the output.

981

01:35:41.760 –> 01:35:46.680

Raymond Bonilla: You know it’s it’s really it’s just so incredibly just.

982

01:35:48.480 –> 01:35:53.550

Raymond Bonilla: it’s inspiring to see somebody just he’s just always on it seems like you know yeah.

983

01:35:55.380 –> 01:35:56.160

John English: He is good.

984

01:36:01.290 –> 01:36:12.240

John English: I gotta kick I met him at the society of illustrators to the awards night 2000 February 7 2020.

985

01:36:13.230 –> 01:36:24.960

John English: And he walked up to me, introduced himself and he stuck out his hand and I said you’re john Kenya, because smiled and he said that’s happened to me before and I said yeah you look, just like your artwork.

986

01:36:27.360 –> 01:36:29.190

John English: And I knew what he looked like because I follow.

987

01:36:29.550 –> 01:36:31.620

Raymond Bonilla: Everything is the notes.

988

01:36:31.950 –> 01:36:43.830

John English: I told him a story which he knew that it was true because my father started following him and they had shared I guess shared messages, but.

989

01:36:44.880 –> 01:36:50.280

John English: I my dad was convalescing in the hospital, but a year before he passed away.

990

01:36:51.780 –> 01:37:03.690

John English: Really down, and I was just trying to do anything to try to make them feel better playing cards with them hanging out talking are, and I was going through my instagram feeds and I said dad you know this guy.

991

01:37:04.740 –> 01:37:08.580

John English: And I handed him my phone, I could not get my phone back.

992

01:37:09.180 –> 01:37:25.530

John English: She fell in love with kenya’s work and then he said something that was so telling he said, you know a lot of guys have good ideas they’re funny but there’s very few people that dropped on me and he said he.

993

01:37:27.120 –> 01:37:31.290

John English: He said his line everything works to his advantage so beautiful.

994

01:37:32.640 –> 01:37:33.750

John English: Such a good draw.

995

01:37:35.550 –> 01:37:37.050

Raymond Bonilla: that’s really well said yeah.

996

01:37:43.410 –> 01:37:45.450

Raymond Bonilla: yeah I couldn’t do that that stuff is.

997

01:37:46.860 –> 01:37:47.370

John English: that’s.

998

01:37:48.570 –> 01:37:51.630

John English: that’s that’s a different mindset, from what I do.

999

01:37:55.500 –> 01:37:57.750

Raymond Bonilla: And I I stress out.

1000

01:37:58.110 –> 01:37:58.620

Raymond Bonilla: let’s say.

1001

01:37:59.160 –> 01:38:02.670

John English: But Ray let’s to go ahead and say this, I doubt he could do what we do either.

1002

01:38:04.680 –> 01:38:06.270

John English: don’t know that to anybody.

1003

01:38:07.530 –> 01:38:07.860

John English: That.

1004

01:38:08.340 –> 01:38:21.120

Tim Trabon: You know what what’s funny is john and you’ll you’ll get a kick out of this because he’s you know we’ve dealt with this is will post a tasteful nude figure drawing and someone will report it on instagram.

1005

01:38:23.250 –> 01:38:25.380

Tim Trabon: And then i’m scrolling through, and I see john cooney.

1006

01:38:27.180 –> 01:38:30.630

Tim Trabon: I see what he plays i’m like do we just have the wrong audience.

1007

01:38:32.700 –> 01:38:34.320

John English: How does he get away with that stuff.

1008

01:38:34.350 –> 01:38:34.710

Tim Trabon: yeah.

1009

01:38:34.950 –> 01:38:36.180

Tim Trabon: Like yeah like.

1010

01:38:36.240 –> 01:38:37.920

John English: He knows somebody or something.

1011

01:38:37.920 –> 01:38:38.460

John English: I don’t.

1012

01:38:38.760 –> 01:38:39.270

Tim Trabon: know I don’t.

1013

01:38:39.360 –> 01:38:40.680

Cassandra Loomis Kim: Even the sensor thinks he’s.

1014

01:38:40.680 –> 01:38:41.070

Cassandra Loomis Kim: funny.

1015

01:38:41.610 –> 01:38:42.210

John English: yeah that’s right.

1016

01:38:43.980 –> 01:38:44.340

Raymond Bonilla: yeah.

1017

01:38:45.120 –> 01:38:49.860

Tim Trabon: like an office at Facebook like this, this is this is absurd.

1018

01:38:52.440 –> 01:38:54.420

John English: he’s definitely breaking the rules.

1019

01:38:54.990 –> 01:39:01.620

Tim Trabon: yeah but yeah we’ve we’ve had like, just like the most heinous images get flagged you like, really.

1020

01:39:04.050 –> 01:39:05.280

Tim Trabon: We probably.

1021

01:39:05.670 –> 01:39:07.830

John English: Use of nudes get flagged.

1022

01:39:09.090 –> 01:39:09.720

Tim Trabon: It doesn’t.

1023

01:39:11.250 –> 01:39:23.340

Tim Trabon: And we’re very actually i’ll say we’re very thoughtful with that, because we know we’ve got you know all we’ve got a lot of followers many ages, but like like john is off the rails.

1024

01:39:29.280 –> 01:39:29.940

Tim Trabon: I mean, he knows.

1025

01:39:35.130 –> 01:39:36.150

John English: I wonder if it’s like.

1026

01:39:36.480 –> 01:39:41.520

John English: we’re getting flagged because they’re flagging us for the drawings not be very good or something.

1027

01:39:43.470 –> 01:39:44.490

John English: Because of the nudity.

1028

01:39:46.830 –> 01:39:49.620

Tim Trabon: it’s a quality it’s a quality control issue.

1029

01:39:51.510 –> 01:39:52.560

Cassandra Loomis Kim: On it could have been better.

1030

01:39:53.100 –> 01:39:55.080

Raymond Bonilla: yeah good better right.

1031

01:39:55.500 –> 01:40:03.900

Tim Trabon: That it makes it, it says like, why did you flag this and it says like it was offensive it spam, it could have been better.

1032

01:40:05.640 –> 01:40:06.240

John English: So funny.

1033

01:40:06.450 –> 01:40:07.170

John English: There you sit.

1034

01:40:07.800 –> 01:40:11.640

John English: There you some material was really poor that was awful.

1035

01:40:14.400 –> 01:40:15.060

John English: Do it from.

1036

01:40:15.300 –> 01:40:17.250

Tim Trabon: an artist perspective yeah.

1037

01:40:20.880 –> 01:40:22.500

John English: yeah oh design sense.

1038

01:40:24.480 –> 01:40:27.510

Raymond Bonilla: Please double check that leg like it looks a little long.

1039

01:40:28.020 –> 01:40:28.470

yeah.

1040

01:40:30.180 –> 01:40:31.410

John English: i’m not drawing the legs.

1041

01:40:35.670 –> 01:40:39.090

Raymond Bonilla: that’s that’s that’s what I would like, for ahead drawing.

1042

01:40:40.770 –> 01:40:42.990

Raymond Bonilla: head looks a little short legs, a little short.

1043

01:40:43.650 –> 01:40:47.430

John English: Although I have stretched her head out a little bit, but i’m still not going to get to the legs.

1044

01:40:48.300 –> 01:40:50.190

Raymond Bonilla: around to the third one, I didn’t realize that.

1045

01:40:52.500 –> 01:40:53.610

John English: Right i’m almost done.

1046

01:40:53.700 –> 01:40:54.330

Tim Trabon: Cheese for a.

1047

01:40:55.080 –> 01:40:56.280

Tim Trabon: long time and we I.

1048

01:40:56.280 –> 01:41:00.450

Tim Trabon: don’t know that we told you this, but we only do three poses now.

1049

01:41:01.680 –> 01:41:02.160

Raymond Bonilla: Really.

1050

01:41:02.550 –> 01:41:05.100

John English: yeah we do a longer third post.

1051

01:41:07.980 –> 01:41:08.670

Raymond Bonilla: stick with it.

1052

01:41:08.760 –> 01:41:09.900

Tim Trabon: As long as you want it re.

1053

01:41:10.260 –> 01:41:13.110

Raymond Bonilla: Oh okay yeah This is great.

1054

01:41:14.790 –> 01:41:20.190

John English: So I put the fourth reference in there, and so you have options of one or the other.

1055

01:41:21.060 –> 01:41:22.680

Tim Trabon: You already rolled the dice though so.

1056

01:41:24.750 –> 01:41:29.250

Raymond Bonilla: Just i’ll do another one, you know I don’t know I don’t know what I want to do now.

1057

01:41:30.210 –> 01:41:30.570

Tim Trabon: Where.

1058

01:41:30.630 –> 01:41:31.110

Raymond Bonilla: Do I can.

1059

01:41:32.430 –> 01:41:38.880

Raymond Bonilla: continue on this, this is great, this is like timmy minutes to the Max for those season one there’s you know.

1060

01:41:40.380 –> 01:41:50.460

Cassandra Loomis Kim: What it was this funny moment where we had a week where we just weren’t getting to the last one, and then we’re all like yeah let’s just not and we everybody was the crowd was kind of cool with it.

1061

01:41:51.030 –> 01:41:57.510

Cassandra Loomis Kim: And then we were kind of like they put a vote and really let’s just keep the format it’s kind of Nice.

1062

01:41:59.760 –> 01:42:03.750

John English: Who do you think the one person that would take the opposite argument.

1063

01:42:06.120 –> 01:42:07.200

Raymond Bonilla: And I would.

1064

01:42:07.680 –> 01:42:10.020

Raymond Bonilla: I would say, Chris Payne.

1065

01:42:10.230 –> 01:42:10.890

John English: You got it.

1066

01:42:11.040 –> 01:42:11.790

right there yeah.

1067

01:42:13.200 –> 01:42:15.600

John English: I got plenty of time to do all these things yeah.

1068

01:42:16.200 –> 01:42:16.650

Raymond Bonilla: Oh, I.

1069

01:42:17.730 –> 01:42:18.660

Raymond Bonilla: wish there were more.

1070

01:42:19.980 –> 01:42:23.670

Tim Trabon: My response was like maybe we could even consider to.

1071

01:42:27.870 –> 01:42:28.260

Raymond Bonilla: yeah.

1072

01:42:29.250 –> 01:42:32.790

John English: No i’m actually actually Chris likes it yeah.

1073

01:42:34.560 –> 01:42:37.020

Raymond Bonilla: Because that he could probably just another reason run the show off.

1074

01:42:37.260 –> 01:42:39.060

Raymond Bonilla: What is he doing is he went out the.

1075

01:42:39.870 –> 01:42:41.340

Raymond Bonilla: ashes and stuff you know.

1076

01:42:43.410 –> 01:42:44.010

John English: Of course.

1077

01:42:44.790 –> 01:42:51.210

Tim Trabon: It was a couple months ago I was like it’s eight o’clock let’s I want to watch it, I want to watch an episode of marius town.

1078

01:42:55.110 –> 01:42:56.460

Cassandra Loomis Kim: Finally, watched that, by the way.

1079

01:42:57.870 –> 01:42:58.830

John English: I like that show.

1080

01:42:59.220 –> 01:43:04.110

Cassandra Loomis Kim: I was really good and I get your comment about the bronco I agree, why does he have a bronco.

1081

01:43:05.820 –> 01:43:08.790

Tim Trabon: It was absurd, it was the biggest mystery in the whole show.

1082

01:43:09.000 –> 01:43:18.900

Cassandra Loomis Kim: It really was I don’t get it, and so I was like really aware of the bronco because you talked about it before I solid and then I was like yeah but that makes zero sense.

1083

01:43:20.610 –> 01:43:25.950

Tim Trabon: like this, this downtrodden kid is driving a $90,000 classic car.

1084

01:43:26.040 –> 01:43:27.090

yeah.

1085

01:43:28.350 –> 01:43:28.890

Tim Trabon: yeah.

1086

01:43:30.000 –> 01:43:31.770

Cassandra Loomis Kim: and talking about how expensive things are.

1087

01:43:32.130 –> 01:43:39.630

Tim Trabon: yeah yeah their money they’re like we don’t have the money for the surgery, but it was like just like.

1088

01:43:40.800 –> 01:43:43.260

Tim Trabon: Just like sell the door handle on your bronco.

1089

01:43:44.220 –> 01:43:49.770

Cassandra Loomis Kim: I was like his conscious with the extra shiny Yes, he complained about it yeah yeah.

1090

01:43:50.250 –> 01:43:51.540

Raymond Bonilla: I wish I was this.

1091

01:43:51.900 –> 01:43:53.160

Cassandra Loomis Kim: Mayor of East town.

1092

01:43:53.970 –> 01:43:56.730

Raymond Bonilla: Mayor of East hat Okay, I think i’ve heard of it.

1093

01:43:57.090 –> 01:43:58.080

Cassandra Loomis Kim: it’s on HBO.

1094

01:43:59.130 –> 01:43:59.520

Raymond Bonilla: Okay.

1095

01:44:00.510 –> 01:44:02.880

Raymond Bonilla: Oh yeah yeah yeah yeah yeah Okay, yes.

1096

01:44:04.680 –> 01:44:14.520

Cassandra Loomis Kim: Well, it was fun because I watched back to back I watched hacks first and then I watched me or East town and gene smartest in both and you see here be two very different people and.

1097

01:44:15.000 –> 01:44:16.440

Tim Trabon: she’s still still great.

1098

01:44:16.590 –> 01:44:17.520

Cassandra Loomis Kim: Really talented.

1099

01:44:18.240 –> 01:44:21.930

Tim Trabon: I watched those basically at the same time as well Cassandra is so great.

1100

01:44:22.290 –> 01:44:23.580

Cassandra Loomis Kim: yeah oh.

1101

01:44:23.670 –> 01:44:25.830

Cassandra Loomis Kim: yeah say that have you cringing a.

1102

01:44:25.830 –> 01:44:27.810

Cassandra Loomis Kim: Time yeah.

1103

01:44:28.050 –> 01:44:31.710

Tim Trabon: That was really hard to watch some time but I loved it.

1104

01:44:32.520 –> 01:44:32.790

Like.

1105

01:44:34.110 –> 01:44:36.330

Cassandra Loomis Kim: that’s some poor decision making, you keep making.

1106

01:44:36.750 –> 01:44:39.060

Tim Trabon: I know it’s so great that.

1107

01:44:40.320 –> 01:44:49.050

Tim Trabon: i’ve been tuning into like I love HBO shows, but then I started to realize that now HBO is not a place of like.

1108

01:44:50.460 –> 01:44:55.050

Tim Trabon: Like I feel like it used to be like, if you turn on HBO like whatever he did was amazing.

1109

01:44:55.470 –> 01:44:55.950

Cassandra Loomis Kim: mm hmm.

1110

01:44:56.310 –> 01:44:58.950

Tim Trabon: And now you turn it on and it’ll be like.

1111

01:45:00.000 –> 01:45:06.450

Tim Trabon: It they were like trying to pitch like a child doctor show something like Dr Dr kid.

1112

01:45:08.910 –> 01:45:10.290

Tim Trabon: you’re talking about what is it called.

1113

01:45:10.650 –> 01:45:11.730

Raymond Bonilla: yeah yeah.

1114

01:45:13.800 –> 01:45:14.370

Tim Trabon: it’s just like.

1115

01:45:15.030 –> 01:45:15.690

Raymond Bonilla: clay yeah.

1116

01:45:15.750 –> 01:45:16.980

Tim Trabon: yeah what’s going to happen.

1117

01:45:19.410 –> 01:45:26.160

Tim Trabon: Because I was, I listened to an interview with David chase the the guy who wrote sopranos.

1118

01:45:26.670 –> 01:45:27.900

Cassandra Loomis Kim: mm hmm and.

1119

01:45:27.960 –> 01:45:31.740

Tim Trabon: It was fascinating I had no idea I mean I knew sopranos change TV.

1120

01:45:32.070 –> 01:45:34.470

Tim Trabon: But I didn’t realize the HBO just was not what it.

1121

01:45:34.710 –> 01:45:37.650

Tim Trabon: Is until that until that.

1122

01:45:38.130 –> 01:45:48.630

Raymond Bonilla: Right yeah their their claim to fame at the time was their first directed their first produced movie which was about the Jay leno.

1123

01:45:51.480 –> 01:45:54.570

Raymond Bonilla: letterman letterman thing before the Johnny Carson.

1124

01:45:56.760 –> 01:45:59.790

Raymond Bonilla: Show like who was taking over and stuff you know.

1125

01:45:59.940 –> 01:46:01.140

Tim Trabon: You have I don’t know if this is.

1126

01:46:01.140 –> 01:46:04.410

Tim Trabon: Public but right right right you you’ve got like some personal ties right.

1127

01:46:05.190 –> 01:46:07.410

Raymond Bonilla: To HP with food do.

1128

01:46:07.590 –> 01:46:08.760

Tim Trabon: You have a history of some sort.

1129

01:46:09.810 –> 01:46:15.480

Raymond Bonilla: Now yeah, but I have a family member that that works at HBO so they would always.

1130

01:46:16.710 –> 01:46:30.030

Raymond Bonilla: tell me what was coming out the movies wise and stuff, and so what, but when HBO went to their own programming was a big deal because it was like, no, no, you guys do sports in boxing just stick with that you know yeah.

1131

01:46:30.420 –> 01:46:43.500

Tim Trabon: Well, if anybody wants like kind of I thought it was a heartwarming story because David chase is this individual who, if you think about it, you would think he’s this like person that.

1132

01:46:44.640 –> 01:46:59.070

Tim Trabon: got everything you ever wanted, but I didn’t realize, like all the only thing he wanted to do like his entire career was make a movie that was like he wanted to do that so badly and he got stuck in television.

1133

01:47:00.480 –> 01:47:04.950

Tim Trabon: And then he’s kind of single handedly responsible for like making.

1134

01:47:06.120 –> 01:47:07.350

Tim Trabon: TV movies.

1135

01:47:07.950 –> 01:47:10.680

Tim Trabon: yeah like the mini series or movies.

1136

01:47:10.710 –> 01:47:12.990

Cassandra Loomis Kim: yeah that’s the place to be.

1137

01:47:13.350 –> 01:47:26.970

Tim Trabon: it’s the place to be he, like completely flipped the script on the whole, you know it’s very like I thought it was very sweet because he doesn’t even seem to be aware of that that he, like manifested what he wanted.

1138

01:47:28.200 –> 01:47:31.980

Tim Trabon: I don’t know it was it’s really very special story.

1139

01:47:33.150 –> 01:47:35.490

Cassandra Loomis Kim: So is it like a documentary about him or.

1140

01:47:35.850 –> 01:47:39.240

Tim Trabon: his interview it’s just an interview with him and he’s just talking about how.

1141

01:47:39.240 –> 01:47:42.360

Tim Trabon: badly he wanted to do movies and.

1142

01:47:42.900 –> 01:47:43.290

Raymond Bonilla: well.

1143

01:47:43.680 –> 01:47:48.930

Tim Trabon: And I think he was just he’s just doing press in supportive like the new sopranos film.

1144

01:47:49.380 –> 01:47:49.950

Cassandra Loomis Kim: Oh cool.

1145

01:47:50.700 –> 01:47:52.770

Raymond Bonilla: And this is sopranos film coming on.

1146

01:47:53.040 –> 01:48:01.380

Cassandra Loomis Kim: Oh yeah better it’s supposed to be about like the main character as a young boy and it’s his actual son playing him as a young guy.

1147

01:48:01.890 –> 01:48:02.520

Oh.

1148

01:48:03.990 –> 01:48:05.370

Raymond Bonilla: wow that’s kind of Meta wow.

1149

01:48:05.790 –> 01:48:06.480

Cassandra Loomis Kim: yeah yeah.

1150

01:48:07.710 –> 01:48:08.100

Raymond Bonilla: yeah.

1151

01:48:09.210 –> 01:48:10.650

Tim Trabon: The mini saints of Newark.

1152

01:48:10.740 –> 01:48:13.380

John English: I thought you said meadow because I know that was his daughter.

1153

01:48:18.510 –> 01:48:23.040

Tim Trabon: I like I really like I really love late bloomer stories, you know.

1154

01:48:23.370 –> 01:48:24.000

Cassandra Loomis Kim: mm hmm.

1155

01:48:24.390 –> 01:48:29.280

Tim Trabon: That definitely felt like when I mean, even though he was like making you know big TV.

1156

01:48:30.300 –> 01:48:36.570

Raymond Bonilla: productions and stuff well yeah I mean like it was that, like George George rr martin’s another person that sounds like.

1157

01:48:37.680 –> 01:48:40.680

Raymond Bonilla: same thing right he had just wanted to get into movies and.

1158

01:48:41.790 –> 01:48:53.100

Raymond Bonilla: He wanted to get into what was this whole deal like he wanted to get into TV writing and nobody would read his stuff and so, then he decided, I was like obviously gonna write books, then I guess i’ll go into publishing and then he wrote gave us.

1159

01:48:53.820 –> 01:48:54.540

Cassandra Loomis Kim: yeah.

1160

01:48:55.140 –> 01:48:59.580

Raymond Bonilla: You know they asked me would be instead of writing this you know, like what.

1161

01:49:01.410 –> 01:49:04.050

Raymond Bonilla: yeah you know yeah.

1162

01:49:04.530 –> 01:49:12.060

Cassandra Loomis Kim: What do you got the new Lord of the Rings series, where each episode is like 100 million dollars or something ridiculous like that.

1163

01:49:12.090 –> 01:49:25.500

Raymond Bonilla: I heard, I heard about that that’s like that’s crazy so that’s that is either going to be incredible or the the biggest cautionary tale that we like double probably either be like incredible.

1164

01:49:25.560 –> 01:49:27.750

Raymond Bonilla: Or the end of streaming, as we know.

1165

01:49:27.810 –> 01:49:33.600

Cassandra Loomis Kim: Nothing basically what i’m seeing it like you know phases can’t go to space again because this fans.

1166

01:49:35.760 –> 01:49:38.340

Tim Trabon: I was just gonna say I was just gonna say if.

1167

01:49:39.510 –> 01:49:49.200

Tim Trabon: The entertainment is so important to us that we’re like oh about a billion dollars that could go into science and research, no i’d rather see.

1168

01:49:50.400 –> 01:49:51.990

Tim Trabon: Other revisits is the look of the.

1169

01:49:52.770 –> 01:49:55.740

Raymond Bonilla: 30% million, though.

1170

01:49:56.280 –> 01:49:56.640

Tim Trabon: yeah.

1171

01:49:57.150 –> 01:49:59.190

Cassandra Loomis Kim: Well, they like someone actually calculated.

1172

01:49:59.220 –> 01:50:06.480

Cassandra Loomis Kim: How like how expensive each minutes was, and it was like like over a million dollars per minute.

1173

01:50:07.230 –> 01:50:11.790

Raymond Bonilla: yeah yeah and and what a shocker they’re behind schedule.

1174

01:50:13.260 –> 01:50:13.620

Raymond Bonilla: So.

1175

01:50:14.550 –> 01:50:15.600

Raymond Bonilla: They don’t.

1176

01:50:15.960 –> 01:50:16.980

Have the budget to do.

1177

01:50:20.220 –> 01:50:29.970

Raymond Bonilla: You know what I get the feeling of I don’t know if anybody else gets this this is when like when when they it’s like them going to Lord of the Rings coming to Amazon prime.

1178

01:50:30.600 –> 01:50:43.080

Raymond Bonilla: feels like spider man going on broadway like right right it’s like we have the best people working on it we’re throwing the most money at it, this cannot fail.

1179

01:50:43.800 –> 01:50:52.830

Tim Trabon: yeah hey whenever I think of the spider man on broadway do you really think that seeing it live wouldn’t have been maybe one of the most entertaining Brian.

1180

01:50:54.840 –> 01:50:57.270

Raymond Bonilla: yeah it totally yeah, but the fact.

1181

01:50:57.840 –> 01:51:07.890

Raymond Bonilla: Is that like it so that’s what i’m worried like Lord of the Rings going to be so crazy to see but no one’s gonna watch it like they can they can recoup their costs and.

1182

01:51:08.640 –> 01:51:21.720

Raymond Bonilla: And like you know they’ll have like you know people getting hurt or like you know, like a spider man like the guy felt like the harness yeah snapped and he, like was hospitalized and a preview show like.

1183

01:51:22.170 –> 01:51:24.420

Raymond Bonilla: yeah and yeah I mean just.

1184

01:51:24.630 –> 01:51:29.370

Cassandra Loomis Kim: Just crazy several people were it wasn’t just like one guy like I think.

1185

01:51:29.730 –> 01:51:32.610

Cassandra Loomis Kim: Right show, I want to say it was something like.

1186

01:51:33.570 –> 01:51:35.760

Tim Trabon: They really have to dig in the Multi verse.

1187

01:51:38.250 –> 01:51:39.690

Raymond Bonilla: We got who else we got.

1188

01:51:40.470 –> 01:51:42.390

Tim Trabon: Here they were going through all the spider man and.

1189

01:51:45.480 –> 01:51:51.270

Cassandra Loomis Kim: It did it did sound cool I was like is this like the circus lay at broadway.

1190

01:51:51.510 –> 01:51:51.960

Cassandra Loomis Kim: Oh yeah.

1191

01:51:52.020 –> 01:51:57.690

Raymond Bonilla: yeah yeah totally and and you know the was it the edge from you.

1192

01:51:58.380 –> 01:51:59.250

Cassandra Loomis Kim: yeah.

1193

01:51:59.940 –> 01:52:01.980

Raymond Bonilla: it’s like your comic books right yeah.

1194

01:52:03.720 –> 01:52:08.040

Raymond Bonilla: yeah just tons of money, this was, I think before Disney right.

1195

01:52:08.400 –> 01:52:10.080

Cassandra Loomis Kim: yeah yeah yeah.

1196

01:52:10.770 –> 01:52:18.330

Raymond Bonilla: yeah that is pre Disney money, so I don’t know so I don’t know i’m hopeful I want I want this stuff to do well, because you know i’m in.

1197

01:52:19.440 –> 01:52:21.150

Raymond Bonilla: And I want nerd culture to.

1198

01:52:22.500 –> 01:52:25.650

Raymond Bonilla: to survive, you know I mean I remember the dark times.

1199

01:52:26.040 –> 01:52:29.400

Tim Trabon: it’ll be a whole new generation of kids who gets to see it, you know.

1200

01:52:29.790 –> 01:52:30.780

Raymond Bonilla: yeah that’s true.

1201

01:52:31.200 –> 01:52:32.940

Raymond Bonilla: yeah that’s true yeah.

1202

01:52:33.030 –> 01:52:46.200

Tim Trabon: I mean, but you know what right like I was just as we were talking earlier, I was like man, I wonder when Bryan cave on he’s going to do saga the miniseries because, like that, but then I was like I can’t even imagine.

1203

01:52:47.100 –> 01:52:48.240

Tim Trabon: I the.

1204

01:52:48.330 –> 01:52:50.070

Tim Trabon: HBO the budget.

1205

01:52:50.640 –> 01:52:51.330

Tim Trabon: To do that.

1206

01:52:51.690 –> 01:52:55.950

Raymond Bonilla: would be insane yeah yeah I yeah I wonder.

1207

01:52:56.340 –> 01:52:58.110

Tim Trabon: Or it would I want really cheesy.

1208

01:52:59.490 –> 01:52:59.790

Raymond Bonilla: It.

1209

01:53:00.810 –> 01:53:04.050

Cassandra Loomis Kim: Well, you know man it’s just about to come out right.

1210

01:53:04.530 –> 01:53:11.520

Raymond Bonilla: yeah Sam man’s about that, and then a Jupiter ascending you know that they handle that pretty darn well, I thought.

1211

01:53:11.970 –> 01:53:12.930

Raymond Bonilla: You guys have led to.

1212

01:53:13.470 –> 01:53:13.920

Tim Trabon: them yeah.

1213

01:53:15.720 –> 01:53:16.410

Raymond Bonilla: with him.

1214

01:53:16.740 –> 01:53:17.790

Tim Trabon: with him.

1215

01:53:18.780 –> 01:53:19.920

Raymond Bonilla: With with David.

1216

01:53:20.010 –> 01:53:21.570

Raymond Bonilla: No, he was in Jupiter ascending.

1217

01:53:21.720 –> 01:53:23.670

Raymond Bonilla: yeah Boise.

1218

01:53:23.910 –> 01:53:25.320

Tim Trabon: I didn’t know that went well.

1219

01:53:25.950 –> 01:53:28.260

John English: hey timmy can I interrupt and say.

1220

01:53:29.070 –> 01:53:30.720

John English: we’re about done with this post.

1221

01:53:30.750 –> 01:53:33.600

Tim Trabon: yeah we’re probably yeah we’re getting too excited.

1222

01:53:35.850 –> 01:53:36.330

Tim Trabon: yeah.

1223

01:53:38.040 –> 01:53:50.670

Tim Trabon: yeah, I just wanted so everybody we’re going to wrap this up john’s gonna draw for a couple john’s going to open up instagram soon, but please post your work be sure to post it using hashtag station Eiffel.

1224

01:53:52.050 –> 01:53:55.650

Tim Trabon: and add visual arts passage do it now don’t wait.

1225

01:53:56.040 –> 01:53:57.150

John English: I want to see raymond’s.

1226

01:53:58.350 –> 01:53:59.460

John English: piece, has been working on.

1227

01:54:04.560 –> 01:54:05.970

Raymond Bonilla: I deleted it sound sorry.

1228

01:54:07.050 –> 01:54:07.560

Oh come on.

1229

01:54:09.750 –> 01:54:11.430

John English: Give me you want to bounce around the room, and then we.

1230

01:54:11.430 –> 01:54:12.330

Tim Trabon: can do that.

1231

01:54:13.710 –> 01:54:14.040

Tim Trabon: Stop.

1232

01:54:14.310 –> 01:54:15.720

Cassandra Loomis Kim: Alex really good john.

1233

01:54:16.470 –> 01:54:17.010

Tim Trabon: Alex great.

1234

01:54:27.480 –> 01:54:28.140

Raymond Bonilla: that’s awesome.

1235

01:54:28.500 –> 01:54:29.520

Cassandra Loomis Kim: yeah i’m still.

1236

01:54:31.170 –> 01:54:33.390

Cassandra Loomis Kim: Not quite her yeah.

1237

01:54:37.170 –> 01:54:37.890

Tim Trabon: awesome right.

1238

01:54:39.510 –> 01:54:39.810

Cassandra Loomis Kim: Nice.

1239

01:54:42.240 –> 01:54:42.630

Raymond Bonilla: Thank you.

1240

01:54:44.280 –> 01:54:46.200

Raymond Bonilla: that’s a scary poses are tough.

1241

01:54:46.680 –> 01:54:47.760

Cassandra Loomis Kim: they’re really hard.

1242

01:54:48.930 –> 01:54:51.210

John English: I kind of avoided that one for that reason.

1243

01:54:52.470 –> 01:54:54.480

Tim Trabon: Why do you think, why do you think is because.

1244

01:54:56.370 –> 01:54:56.550

well.

1245

01:54:58.410 –> 01:55:04.050

Raymond Bonilla: You could I mean you have to get the angles, of the mouth right because it’s just the way that stretching happens and.

1246

01:55:04.530 –> 01:55:05.520

Raymond Bonilla: You can make it look.

1247

01:55:05.790 –> 01:55:11.520

Raymond Bonilla: Like someone has a fat lip because you have a lot of overlapping between the inside, and the outside of the mouth yeah.

1248

01:55:11.730 –> 01:55:15.570

Cassandra Loomis Kim: teeth are hard to to make them like the job with the lips over.

1249

01:55:16.110 –> 01:55:16.530

yeah.

1250

01:55:17.760 –> 01:55:21.270

Tim Trabon: I just saw pete in like bad tattoos.

1251

01:55:31.980 –> 01:55:32.970

Raymond Bonilla: gotta paint on cardboard.

1252

01:55:33.780 –> 01:55:35.400

Cassandra Loomis Kim: they’re gonna join me cardboard.

1253

01:55:36.210 –> 01:55:38.340

Raymond Bonilla: I gotta do that I gotta bust out the.

1254

01:55:40.290 –> 01:55:42.240

Raymond Bonilla: The paints next time.

1255

01:55:46.410 –> 01:55:48.540

Raymond Bonilla: So we’re looking at some instagram stuff.

1256

01:55:48.780 –> 01:55:49.590

John English: we’re about to.

1257

01:55:50.100 –> 01:55:50.730

Raymond Bonilla: Okay cool.

1258

01:55:50.850 –> 01:55:53.610

John English: giving them like another few seconds here.

1259

01:55:53.850 –> 01:55:54.390

Okay.

1260

01:56:03.360 –> 01:56:04.080

Raymond Bonilla: I love those.

1261

01:56:06.060 –> 01:56:10.350

Raymond Bonilla: That landscape that you’ve posted That was a DEMO you said.

1262

01:56:10.950 –> 01:56:12.510

John English: So my foundations class.

1263

01:56:12.900 –> 01:56:13.920

Raymond Bonilla: yeah it’s beautiful.

1264

01:56:14.340 –> 01:56:14.820

Thanks.

1265

01:56:15.960 –> 01:56:17.370

John English: I was trying to I was trying to.

1266

01:56:19.500 –> 01:56:20.340

John English: summon you.

1267

01:56:20.820 –> 01:56:21.390

trying to get.

1268

01:56:23.550 –> 01:56:29.730

Raymond Bonilla: You drop your Palate and stuff like I think I dropped like that drop almost dropped my palate during my studio bridge thing.

1269

01:56:30.150 –> 01:56:31.290

Cassandra Loomis Kim: It looks like a slight bump.

1270

01:56:31.920 –> 01:56:32.340

yeah.

1271

01:56:34.860 –> 01:56:35.190

Raymond Bonilla: wow.

1272

01:56:36.930 –> 01:56:38.790

John English: We got some really good stuff to look at here.

1273

01:56:39.210 –> 01:56:41.550

John English: I believe and refreshing one last time.

1274

01:56:41.940 –> 01:56:48.690

Tim Trabon: yeah we’re only we’re also only seven we’re only seven posts away from 10,000 drawings.

1275

01:56:48.930 –> 01:56:52.230

Tim Trabon: wow which is amazing so.

1276

01:56:56.640 –> 01:56:57.480

John English: hold on a second.

1277

01:56:58.740 –> 01:56:59.340

John English: Come on.

1278

01:57:10.950 –> 01:57:11.370

John English: Here we go.

1279

01:57:15.810 –> 01:57:17.250

John English: You never know what you’re gonna get to me.

1280

01:57:18.270 –> 01:57:19.260

Tim Trabon: yeah I was gonna say.

1281

01:57:20.580 –> 01:57:23.280

Tim Trabon: i’m gonna tell you anything, the last one, because there’s some junk.

1282

01:57:25.380 –> 01:57:27.030

John English: there’s like some photos of people.

1283

01:57:27.300 –> 01:57:31.470

Tim Trabon: I know people are sneaking in on our.

1284

01:57:33.570 –> 01:57:35.640

Tim Trabon: desk yeah.

1285

01:57:36.720 –> 01:57:37.620

Raymond Bonilla: wow that’s great.

1286

01:57:37.830 –> 01:57:39.330

Cassandra Loomis Kim: Oh that’s amazing.

1287

01:57:39.750 –> 01:57:40.710

John English: that’s awesome.

1288

01:57:40.830 –> 01:57:42.720

Cassandra Loomis Kim: Beautiful like the color.

1289

01:57:44.790 –> 01:57:46.110

John English: Beautiful.

1290

01:57:47.100 –> 01:57:49.200

Cassandra Loomis Kim: Creative expression yeah.

1291

01:57:51.000 –> 01:57:51.840

John English: Oh, look at this.

1292

01:57:53.400 –> 01:57:54.300

Cassandra Loomis Kim: Oh, really.

1293

01:57:55.410 –> 01:57:56.850

John English: yeah very cool.

1294

01:57:58.770 –> 01:58:01.800

John English: Okay, I saw this was the first piece, I saw when I opened up.

1295

01:58:01.980 –> 01:58:03.600

Cassandra Loomis Kim: Oh yeah.

1296

01:58:05.100 –> 01:58:06.150

John English: Beautiful piece.

1297

01:58:06.540 –> 01:58:09.120

Cassandra Loomis Kim: yeah really, really good job.

1298

01:58:11.460 –> 01:58:12.120

John English: Nice.

1299

01:58:13.590 –> 01:58:14.190

Cassandra Loomis Kim: good night.

1300

01:58:15.240 –> 01:58:15.720

Cassandra Loomis Kim: Great.

1301

01:58:17.220 –> 01:58:17.970

John English: Devon.

1302

01:58:18.960 –> 01:58:19.770

Devon.

1303

01:58:27.660 –> 01:58:28.080

Cassandra Loomis Kim: Oh.

1304

01:58:32.160 –> 01:58:34.200

John English: Like a little color palette at the top.

1305

01:58:35.040 –> 01:58:35.520

Raymond Bonilla: I love it.

1306

01:58:37.890 –> 01:58:39.330

John English: it’s good stuff in here.

1307

01:58:40.800 –> 01:58:42.330

Raymond Bonilla: If people got that attitude of the.

1308

01:58:42.330 –> 01:58:43.560

John English: pose yeah.

1309

01:58:44.070 –> 01:58:44.670

Raymond Bonilla: yeah.

1310

01:58:45.150 –> 01:58:48.930

Cassandra Loomis Kim: yeah that’s a good everyone’s getting that posture yeah.

1311

01:58:49.590 –> 01:58:51.510

Raymond Bonilla: Wonderful contra positive right there that’s.

1312

01:58:51.510 –> 01:58:51.870

Good.

1313

01:58:53.040 –> 01:58:53.760

John English: Nice.

1314

01:58:55.140 –> 01:58:55.740

John English: Very good.

1315

01:58:57.210 –> 01:58:58.560

Cassandra Loomis Kim: Oh good and Nice Randy.

1316

01:58:58.740 –> 01:59:01.350

Cassandra Loomis Kim: ready oh I love all the texture around it.

1317

01:59:03.810 –> 01:59:04.740

John English: there’s a good screen.

1318

01:59:05.190 –> 01:59:05.910

Raymond Bonilla: yeah.

1319

01:59:06.090 –> 01:59:06.570

Oh yeah.

1320

01:59:11.700 –> 01:59:12.840

John English: studio bridge this morning.

1321

01:59:15.330 –> 01:59:16.140

John English: they’re warmed up.

1322

01:59:17.520 –> 01:59:19.140

Cassandra Loomis Kim: Oh really nice.

1323

01:59:19.710 –> 01:59:21.360

John English: Good stuff yeah.

1324

01:59:23.010 –> 01:59:24.420

John English: So many good things.

1325

01:59:25.980 –> 01:59:25.980

Cassandra Loomis Kim: masha.

1326

01:59:26.610 –> 01:59:28.200

Cassandra Loomis Kim: montage yeah.

1327

01:59:28.530 –> 01:59:30.150

John English: Great took this.

1328

01:59:30.780 –> 01:59:32.280

Tim Trabon: that’s like a movie poster right there.

1329

01:59:32.340 –> 01:59:34.410

Cassandra Loomis Kim: Oh really nice.

1330

01:59:34.470 –> 01:59:35.040

wow.

1331

01:59:36.480 –> 01:59:38.730

John English: hey did you get the reference earlier something.

1332

01:59:41.190 –> 01:59:41.970

John English: that’s beautiful.

1333

01:59:45.750 –> 01:59:48.780

Raymond Bonilla: that’s great that’s great yeah.

1334

01:59:51.660 –> 01:59:52.080

John English: Great.

1335

01:59:53.580 –> 01:59:55.230

Raymond Bonilla: Nice thanks.

1336

01:59:56.550 –> 01:59:57.690

John English: I know who, that is.

1337

01:59:59.040 –> 01:59:59.940

Raymond Bonilla: I could tell from the.

1338

02:00:02.310 –> 02:00:04.320

John English: i’m confused it a couple times.

1339

02:00:04.350 –> 02:00:11.250

John English: Sometimes I confuse not that their work with set much alike it’s just down small but julian’s.

1340

02:00:11.340 –> 02:00:15.900

Raymond Bonilla: wow yeah totally surprised, they haven’t been Gary yet that’s.

1341

02:00:18.150 –> 02:00:19.560

Raymond Bonilla: How religion of it.

1342

02:00:19.980 –> 02:00:20.280

Raymond Bonilla: love it.

1343

02:00:23.340 –> 02:00:24.180

Raymond Bonilla: that’s another game.

1344

02:00:24.930 –> 02:00:25.620

John English: Nice very.

1345

02:00:32.430 –> 02:00:32.700

John English: Nice.

1346

02:00:34.680 –> 02:00:35.670

John English: that’s really good.

1347

02:00:42.660 –> 02:00:43.560

that’s AJ.

1348

02:00:48.360 –> 02:00:49.980

John English: Look at that it’s been.

1349

02:00:50.730 –> 02:00:51.270

awesome.

1350

02:00:55.050 –> 02:00:56.520

Tim Trabon: I feel like there’s like a note.

1351

02:00:56.760 –> 02:00:58.740

Cassandra Loomis Kim: about that.

1352

02:00:59.730 –> 02:01:01.260

John English: it’s pretty loose for Doug bell.

1353

02:01:01.830 –> 02:01:04.200

Tim Trabon: I like it hey I wouldn’t have seen that one.

1354

02:01:05.910 –> 02:01:06.420

Raymond Bonilla: yeah.

1355

02:01:08.490 –> 02:01:08.880

John English: I got.

1356

02:01:14.070 –> 02:01:16.560

Raymond Bonilla: You know I just don’t okay.

1357

02:01:18.090 –> 02:01:19.860

Raymond Bonilla: He just sent one out, please.

1358

02:01:21.450 –> 02:01:23.250

John English: football game on or something day.

1359

02:01:23.250 –> 02:01:23.880

Raymond Bonilla: yeah yeah.

1360

02:01:26.220 –> 02:01:27.750

John English: entertaining yourself somewhere.

1361

02:01:27.810 –> 02:01:28.260

yeah.

1362

02:01:33.150 –> 02:01:34.920

John English: That was that that was a record.

1363

02:01:37.080 –> 02:01:37.740

John English: For.

1364

02:01:39.060 –> 02:01:42.810

John English: know you know the rule that you can only put your.

1365

02:01:43.980 –> 02:01:50.160

John English: Of course i’ll be at when this happens, you can when you go to double digits you gotta you gotta quit putting your age.

1366

02:01:52.230 –> 02:01:54.570

John English: I refuse refuse to put 60 on my.

1367

02:01:56.010 –> 02:01:56.280

Cassandra Loomis Kim: head.

1368

02:02:00.450 –> 02:02:01.080

John English: is so.

1369

02:02:02.700 –> 02:02:03.870

Raymond Bonilla: Nice oh yeah.

1370

02:02:04.380 –> 02:02:05.100

John English: Look at that.

1371

02:02:06.510 –> 02:02:08.310

Tim Trabon: Look john no age.

1372

02:02:09.270 –> 02:02:11.520

John English: I know I told her, she can do, she turned 10.

1373

02:02:13.350 –> 02:02:13.890

John English: listening.

1374

02:02:17.190 –> 02:02:18.600

John English: These things are beautiful.

1375

02:02:18.780 –> 02:02:22.470

Raymond Bonilla: yeah let’s say stuff got it and then some wow.

1376

02:02:23.520 –> 02:02:24.510

John English: wow look at some of these.

1377

02:02:24.840 –> 02:02:25.590

Tim Trabon: that’s so great.

1378

02:02:25.650 –> 02:02:27.390

Cassandra Loomis Kim: Oh that’s really cool.

1379

02:02:30.060 –> 02:02:30.960

Tim Trabon: that’s so cool.

1380

02:02:33.090 –> 02:02:34.620

Tim Trabon: First time joining awesome.

1381

02:02:35.310 –> 02:02:35.580

well.

1382

02:02:37.170 –> 02:02:38.190

Cassandra Loomis Kim: Thanks for joining.

1383

02:02:38.820 –> 02:02:40.200

Tim Trabon: yeah keep keep joining.

1384

02:02:42.900 –> 02:02:43.470

John English: Laughter

1385

02:02:43.980 –> 02:02:45.390

Cassandra Loomis Kim: Oh, I, like my next tip.

1386

02:02:45.990 –> 02:02:46.530

John English: yeah that’s.

1387

02:02:48.840 –> 02:02:49.800

Tim Trabon: cool that’s cool.

1388

02:02:51.180 –> 02:02:55.020

John English: It looks like they have they’re approaching like prep with the putty knife.

1389

02:02:56.520 –> 02:02:56.880

Raymond Bonilla: yeah.

1390

02:02:57.120 –> 02:02:57.840

Absolutely.

1391

02:02:59.340 –> 02:03:01.290

Cassandra Loomis Kim: that’s really nice.

1392

02:03:04.200 –> 02:03:05.220

John English: Some good ones.

1393

02:03:06.780 –> 02:03:07.650

John English: Rebecca again.

1394

02:03:07.890 –> 02:03:08.370

yep.

1395

02:03:09.630 –> 02:03:10.110

Cassandra Loomis Kim: night.

1396

02:03:10.200 –> 02:03:13.140

John English: She got here we go again look at that.

1397

02:03:14.760 –> 02:03:15.780

John English: that’s really interesting.

1398

02:03:17.430 –> 02:03:22.530

Cassandra Loomis Kim: Oh, that reminds me this interlaced remember this scary storybooks illustrations.

1399

02:03:23.640 –> 02:03:24.060

Tim Trabon: yeah.

1400

02:03:24.210 –> 02:03:26.430

Tim Trabon: I know exactly haunting stories.

1401

02:03:26.580 –> 02:03:29.610

Cassandra Loomis Kim: Yes, and the illustrations are amazing that made me think of that.

1402

02:03:29.970 –> 02:03:33.810

Tim Trabon: And then those those stories I have gave me nightmares just.

1403

02:03:33.810 –> 02:03:34.380

Cassandra Loomis Kim: Oh yeah.

1404

02:03:35.550 –> 02:03:36.810

Cassandra Loomis Kim: Totally a little arrow on that.

1405

02:03:37.950 –> 02:03:38.520

Cassandra Loomis Kim: There we go.

1406

02:03:48.870 –> 02:03:49.440

John English: Nice.

1407

02:03:55.170 –> 02:03:55.860

John English: Very cool.

1408

02:03:56.130 –> 02:03:56.850

yeah.

1409

02:03:58.560 –> 02:04:00.150

John English: All three of these are terrific.

1410

02:04:00.420 –> 02:04:03.420

Oh that’s fantastic that’s my.

1411

02:04:04.740 –> 02:04:05.670

John English: Who, that is.

1412

02:04:05.820 –> 02:04:06.690

Raymond Bonilla: Peter eye out.

1413

02:04:09.120 –> 02:04:09.480

Cassandra Loomis Kim: For it.

1414

02:04:12.660 –> 02:04:13.290

John English: that’s good.

1415

02:04:17.790 –> 02:04:18.660

Oh cool.

1416

02:04:21.570 –> 02:04:23.670

John English: Nice very good, well done.

1417

02:04:24.000 –> 02:04:24.540

Cassandra Loomis Kim: mm hmm.

1418

02:04:26.340 –> 02:04:28.500

John English: Sorry, I could just click on all of them.

1419

02:04:30.180 –> 02:04:31.200

John English: are supposed to be.

1420

02:04:33.990 –> 02:04:35.580

John English: Spreading it out, I just can’t do it.

1421

02:04:38.130 –> 02:04:39.750

Raymond Bonilla: it’s good problem to have john yeah.

1422

02:04:41.250 –> 02:04:41.640

John English: yeah.

1423

02:04:42.810 –> 02:04:44.640

John English: I got plenty of problems, this is.

1424

02:04:46.230 –> 02:04:47.550

Raymond Bonilla: that’s great I love that one’s.

1425

02:04:47.550 –> 02:04:48.780

fun cool.

1426

02:04:52.350 –> 02:04:55.620

Cassandra Loomis Kim: Like everybody did such a good job, we need to look at them all.

1427

02:04:56.670 –> 02:04:58.200

John English: I know check this out.

1428

02:04:58.920 –> 02:05:00.120

John English: Oh very nice.

1429

02:05:02.310 –> 02:05:03.630

John English: very, very, very nice.

1430

02:05:04.950 –> 02:05:05.790

John English: that’s interesting.

1431

02:05:08.730 –> 02:05:09.570

John English: got the pain out.

1432

02:05:09.630 –> 02:05:11.970

Raymond Bonilla: On black that’s that’s awesome.

1433

02:05:12.360 –> 02:05:14.220

John English: yeah oh wow.

1434

02:05:14.280 –> 02:05:15.420

Tim Trabon: This is where I just.

1435

02:05:16.710 –> 02:05:25.650

Tim Trabon: I just want to remind you, interesting as we’re wrapping things up, I just want to remind everybody enrollment closes October 2 if you had fun drawing with us tonight.

1436

02:05:26.160 –> 02:05:39.330

Tim Trabon: I guarantee you’re going to like our mentorship classes, I just dropped a link I go check it out highly recommend checking out john is offering free portfolio reviews right now.

1437

02:05:39.960 –> 02:05:41.400

Cassandra Loomis Kim: that’s cool mercy.

1438

02:05:42.600 –> 02:05:43.800

John English: Take is really well done.

1439

02:05:46.860 –> 02:05:49.980

Cassandra Loomis Kim: yeah john does a great portfolio review, I took him up on that offer.

1440

02:05:53.040 –> 02:05:54.150

John English: didn’t have which to said.

1441

02:05:56.190 –> 02:05:58.950

Cassandra Loomis Kim: I wanted your opinion oh that looks really good Randy.

1442

02:06:00.510 –> 02:06:08.790

Tim Trabon: The classes are 999 but we actually just have we have shopify payments available, so you can break that up.

1443

02:06:10.320 –> 02:06:12.690

Tim Trabon: into a bi monthly payment so.

1444

02:06:13.200 –> 02:06:28.560

John English: And it’s not those classes have a huge amount of interaction it’s not a three hour class it’s three hours on homeroom three hours in the study all you got to open drawing here, and then you got the slack channel all week long with your mentor.

1445

02:06:29.280 –> 02:06:40.410

Tim Trabon: it’s an immersive interaction it’s fully immersive experience and you’re going to have a mentor that you have a relationship with as you develop your portfolio.

1446

02:06:41.580 –> 02:06:41.910

John English: Nice.

1447

02:06:47.430 –> 02:06:47.910

John English: wow.

1448

02:06:50.700 –> 02:06:51.330

Cassandra Loomis Kim: that’s cool.

1449

02:06:52.770 –> 02:06:55.290

John English: I keep I can’t keep keep clicking.

1450

02:06:56.580 –> 02:06:56.760

Cassandra Loomis Kim: Oh.

1451

02:06:57.450 –> 02:06:59.760

Raymond Bonilla: I mean I don’t blame me john is there, like.

1452

02:07:00.690 –> 02:07:01.710

John English: Last to.

1453

02:07:07.020 –> 02:07:07.950

John English: Look at that really.

1454

02:07:08.190 –> 02:07:09.510

Cassandra Loomis Kim: awesome yeah.

1455

02:07:09.630 –> 02:07:12.840

John English: What a great night oh Nice.

1456

02:07:13.560 –> 02:07:15.600

John English: wow everybody, this was great.

1457

02:07:17.280 –> 02:07:18.720

Raymond Bonilla: What we say baker everyone.

1458

02:07:19.110 –> 02:07:24.150

John English: timmy we blame the side you in study Hall, we use the line is always be re-enrolling.

1459

02:07:25.440 –> 02:07:25.890

Tim Trabon: Always.

1460

02:07:26.430 –> 02:07:27.720

John English: always been really.

1461

02:07:28.560 –> 02:07:29.370

Tim Trabon: A br.

1462

02:07:33.090 –> 02:07:33.720

John English: Alright, everybody.

1463

02:07:34.050 –> 02:07:36.180

John English: Thanks so much for coming in it’s great to see a.

1464

02:07:36.870 –> 02:07:38.370

Raymond Bonilla: Great great great great tip I.

1465

02:07:38.370 –> 02:07:38.880

John English: really do.

1466

02:07:39.240 –> 02:07:40.770

Raymond Bonilla: Thank you missy guys to.

1467

02:07:40.830 –> 02:07:41.700

Raymond Bonilla: Thank you everyone.

1468

02:07:42.000 –> 02:07:52.290

John English: Cassandra Thank you so much for being here to me and then Terry I know you’ve already left, but thanks for being here very fun night hope to see you all next week.

1469

02:07:53.820 –> 02:07:54.450

Cassandra Loomis Kim: Take care.

1470

02:07:54.570 –> 02:07:55.440

Raymond Bonilla: Take care everyone.