please summarize this 

# tactiq.io free youtube transcript
# DIGITAL ART: the O̲N̲L̲Y̲ 2 MISTAKES YOU'RE MAKING | NEVER USE PRESSURE OPACITY! EVAR!!! 🦅
# https://www.youtube.com/watch/7xQ9-JZHPuQ

00:00:01.760 listen to me you're doing two major
00:00:03.750 things wrong here you're not failing
00:00:05.220 right you're not doing intelligent
00:00:06.870 failing okay and number two you use it a
00:00:09.210 brush that can lead you to years of
00:00:11.070 stagnation non progression we had a
00:00:13.290 drawing challenge recently I'm going to
00:00:14.639 go into that and I'm gonna show you a
00:00:16.079 little bit what you're doing wrong this
00:00:17.490 is coming from an industry professional
00:00:19.010 let's get you like let's get to learning
00:00:21.330 and get to turn alright come on let's go
00:00:22.949 what is this all revolve around getting
00:00:24.779 better faster and there was noticing
00:00:26.640 your mistakes all right so what it's all
00:00:28.080 about
00:00:28.380 I'm just gonna go over intelligent
00:00:29.939 failing first let's let's do that what
00:00:31.949 better way to help stupid people
00:00:33.360 understand something than a graph take a
00:00:35.460 look at this graph I'm gonna try to keep
00:00:36.960 this in nice and simple so you can
00:00:38.489 understand it if you look down here you
00:00:39.899 see wrong decisions let's just say our
00:00:41.790 wrong decisions are a e through K and
00:00:43.829 then at the very end of it you got your
00:00:45.300 goal okay pretty simple so far are you
00:00:48.120 with me and so intelligent failing is
00:00:49.950 all about being okay with failing and
00:00:52.410 realizing that you need to fail in order
00:00:54.690 to move on to the next thing and I've
00:00:56.370 said this before but what do I mean by
00:00:58.199 it you got your one right here this is a
00:01:00.059 piece of art this is an art piece that
00:01:02.160 you're creating and always like I say
00:01:04.409 you know I say this always I say
00:01:06.180 reference professional art so this is
00:01:07.979 coupled with your art piece you know
00:01:09.869 this okay I'm not gonna dive into it you
00:01:11.580 already know this ABC are the mistakes
00:01:13.979 that you've made on this first piece
00:01:15.479 let's say it's a character design that
00:01:17.759 you're working on let's say you spent 30
00:01:19.710 minutes on this guy now here's the thing
00:01:22.380 about intelligent failing move on you do
00:01:24.960 the drawing and then you move on after
00:01:26.520 that this is super important because I
00:01:28.049 see students doing this all day okay
00:01:30.750 they take the crayon they just keep on
00:01:32.579 after you're done with the first one
00:01:34.079 move on to painting - or character
00:01:36.750 design - if you're smart you can already
00:01:38.340 see a trend here a B and C are the
00:01:40.320 mistakes that you've made on the first
00:01:41.700 drawing but by this point you know not
00:01:44.759 to make the same mistakes that's how we
00:01:46.680 work right you touch something hot and
00:01:48.420 you said oh that hurt don't touch that
00:01:50.460 hot thing again and if you're smart
00:01:52.020 that's why it's called intelligent
00:01:53.640 failing you this it requires thinking it
00:01:56.340 requires realization that you've made
00:01:58.469 the stupid mistake and this is why a lot
00:02:01.079 of people don't get this because you
00:02:02.700 know they just keep on drawing the same
00:02:03.960 thing keep on making the same mistakes
00:02:05.219 and I can tell just by looking at you
00:02:06.960 you're pretty smart by step 3 all right
00:02:10.889 you've made the mistakes de f and G
00:02:13.270 this time alright by step three you've
00:02:14.980 known that you've made the mistakes from
00:02:16.450 the second art piece in the first art
00:02:17.890 piece and by this point you're
00:02:19.360 eliminating the wrong decisions that's
00:02:21.190 all that this is process of elimination
00:02:23.440 intelligent failing let's say you spent
00:02:25.120 30 minutes on drawing - 30 minutes on
00:02:27.100 drawing three all right we're moving
00:02:28.270 we're not staying on one thing that's
00:02:30.040 the the the in order for this whole
00:02:31.930 thing to work out you have to keep
00:02:33.850 moving otherwise you're making the same
00:02:36.100 mistakes on the same thing over and over
00:02:38.440 and over again okay you're not moving
00:02:40.090 through time and space and then you find
00:02:42.760 yourself at Step four you've made all
00:02:44.320 the mistakes and you've learned
00:02:45.610 everything what not to do and what works
00:02:47.680 what doesn't work and you've hit your
00:02:49.360 goal it doesn't have to be one through
00:02:51.250 four drawings one through four paintings
00:02:53.410 I personally did like seven at a time in
00:02:56.200 one day I would have maybe like seven
00:02:58.420 projects that I can flip back and forth
00:03:00.400 and so if you spend a little bit of time
00:03:01.780 on one move on to the next one move on
00:03:03.460 to the next one check this out by the
00:03:04.810 time you've hit the final piece you go
00:03:06.550 all the way back to the first one now
00:03:08.710 you're smarter because you've learned
00:03:10.360 through this process you've taken
00:03:11.920 everything that you've learned and now
00:03:13.360 you go back to the first one and and
00:03:14.920 it's so clear when you go back to the
00:03:16.450 first one you're like oh my god I was so
00:03:18.190 stupid
00:03:18.940 and you know what you're right you
00:03:20.590 really were and again this would not
00:03:22.480 work without these references make sure
00:03:24.790 you've got your references on each piece
00:03:26.709 and I'll talk about references in the
00:03:28.240 previous video so you check that out hey
00:03:31.620 alright you know what I'm just gonna
00:03:33.370 jump straight into this brush thing
00:03:34.660 again this is all about getting better
00:03:36.250 faster to cover it as a whole it's all
00:03:38.590 about indecision whenever you use a
00:03:40.060 brush with low opacity like that like
00:03:42.130 you see on the thumbnail or you see here
00:03:43.840 in the work that I'm kind of breaking
00:03:45.190 down it's all about indecision a student
00:03:47.440 needs clarity within their own work and
00:03:49.780 whenever use a brush with low opacity
00:03:51.400 you're not forcing yourself to make a
00:03:54.070 decision to go watch my other video
00:03:55.780 about this triangle situation it's the
00:03:57.700 same thing don't you ever draw with an
00:04:00.160 oval and it's because ovals lead to
00:04:02.620 indecision and these triangles they have
00:04:04.360 a favorite side so you know which way
00:04:06.130 the shape is turning so if you guys can
00:04:08.050 just take a second and shut up I can
00:04:10.209 show you some examples here's some of my
00:04:11.830 old work here this was like 2014 15 or
00:04:14.650 16 or something but these studies you
00:04:16.600 can tell I'm not at the maximum learning
00:04:19.329 potential here if you can look into
00:04:21.339 these you can tell that it's all this
00:04:23.410 way or that way
00:04:24.250 big known
00:04:25.070 no don't you ever do that you need to be
00:04:27.680 clear in your mistakes so you can
00:04:29.840 realize them work on them maybe your
00:04:32.780 first step is to be all loosey-goosey
00:04:34.490 then you can lower the opacity and come
00:04:36.980 back over and make a decisive line check
00:04:40.340 out this fella the opacity is down on my
00:04:42.560 brush when I was doing this but you can
00:04:44.750 still see a form I'm just gonna try to
00:04:47.000 come in and make that more clear this is
00:04:48.890 the shoulder and he's a standard round
00:04:50.600 brush look it's all pixely doesn't
00:04:52.460 matter it doesn't matter baby
00:04:53.750 where is it turning this is about a year
00:04:56.060 so afterwards you can tell that I am
00:04:57.920 clarifying simplifying making sure it's
00:05:00.800 clear where the line starts and ends
00:05:02.480 what shapes they're making there's no
00:05:03.890 guessing here you look at it you know
00:05:05.510 which way these characters are turning
00:05:06.920 start go pay attention pay attention
00:05:08.510 there's always a flip side to these
00:05:09.980 things there are always good artists
00:05:11.840 that can kind of counter what I'm
00:05:12.980 talking about let's take a look at Cory
00:05:14.510 Loftus Cory Loftus hands down oh gee
00:05:17.300 this guy's like best of the best okay it
00:05:19.220 might look like cartoons to you like
00:05:20.900 little cartoon characters a little
00:05:22.070 Disney things the more you dive into it
00:05:23.840 you can see the confidence in the shape
00:05:25.820 language at this guy's creating it can
00:05:27.410 be applied to anything completely
00:05:28.970 bluntly applied to your art to anybody's
00:05:31.850 art okay but then you look at his stuff
00:05:33.650 and you can see that he's using opacity
00:05:36.020 he's specifically doing what I said not
00:05:38.660 to do for one he's a professional in the
00:05:40.400 industry and he knows what he's doing
00:05:41.780 but I'm not gonna let that be an excuse
00:05:43.430 to not explain why it's okay that he's
00:05:45.920 doing this he understands the overall
00:05:48.110 shapes that he's using it does not
00:05:49.820 matter what kind of brush you use as
00:05:51.860 long as you've got the knowledge of what
00:05:53.630 you're trying to create the line quality
00:05:56.180 doesn't really matter the brush does not
00:05:58.010 matter if there was a brush that I had
00:05:59.780 to recommend to study clarity to force
00:06:02.780 yourself to make decisions is the
00:06:04.340 standard around brush all right no
00:06:06.470 opacity we're gonna be getting to your
00:06:08.300 drawing challenge in a second but the
00:06:10.160 stuff that I'm talking about right now
00:06:11.180 it's gonna be applied to that seeing
00:06:13.010 this type of work changed my life
00:06:14.990 what he's doing is taking 3d are okay
00:06:17.090 they have a very rough 3d animation that
00:06:19.220 they do for these films and what Cory
00:06:21.170 does is he goes in and he changes the
00:06:23.210 shapes of the 3d models so the 3d
00:06:24.980 modelers can put them you know to make
00:06:26.840 them more full of life and you see that
00:06:28.850 happening here and it's super impressive
00:06:30.230 changed my life look at this look at
00:06:32.270 this stuff and the changes that he's
00:06:34.130 making are incredible he's being
00:06:35.660 decisive with his lines
00:06:37.040 so maybe what you
00:06:38.120 do to kind of study this more is going
00:06:39.740 with the hard round brush specifically
00:06:41.630 try to find these lines that he's trying
00:06:43.850 to create super important to go in and
00:06:45.770 study why they do the decisions why they
00:06:47.690 make the decisions that they make all
00:06:48.979 right here's an example look at this arm
00:06:50.419 do you see the taper that this arm is
00:06:52.970 creating it's not like this
00:06:54.650 okay these lines aren't parallel there's
00:06:56.540 a taper there's a favorite side to this
00:06:58.850 whole overall shape when you start going
00:07:01.190 in and breaking these things down with
00:07:02.720 your little infant eyes you will be able
00:07:05.090 to see if you can think again it all
00:07:06.979 comes back down to whether you're
00:07:08.510 putting these two and two together
00:07:09.620 they're not just doing this stuff
00:07:10.970 willy-nilly there's a there's a purpose
00:07:12.889 for everything his leg here look at the
00:07:14.870 beautiful shape how it comes down like
00:07:16.880 this confident boom and then it hits
00:07:18.290 this point with the knee that's the knee
00:07:20.150 that's why it's stopping there put two
00:07:21.770 and two together quit being so stupid
00:07:23.060 and do you see this oh it's really hard
00:07:25.010 to see maybe you can see it if you're a
00:07:26.750 little bit smarter than you are he tried
00:07:28.490 to erase it Cory tried to erase it so
00:07:30.289 you wouldn't see it but we see it don't
00:07:32.270 we this shape of the bottom of the leg
00:07:34.520 swoops back in it's an overall shape
00:07:36.830 baby all right let's take it from the
00:07:38.180 top I'm just going to show you because
00:07:39.289 this is important boom you got this boom
00:07:41.570 hard line and then boom you got this
00:07:43.460 hard line where the knee cuts off boom
00:07:45.050 boom boom and now what does it do it
00:07:47.300 swoops back in to be the the shin area
00:07:49.850 of this tiger lion thing and you know
00:07:52.340 what he does being bang boom he races it
00:07:54.229 done I learned so much from looking at
00:07:56.210 coursework it's just incredible you
00:07:57.950 don't again you don't have to draw like
00:07:59.450 this guy but there's a lot to learn from
00:08:00.680 him again right here he's varying the
00:08:02.539 opacity of this brush doesn't matter
00:08:04.760 he is proof that you can be decisive
00:08:06.560 with this type of line work but it comes
00:08:09.260 down to being a student and learning and
00:08:11.960 being clear with your own with being
00:08:13.669 clear with yourself all right that's the
00:08:15.050 whole point of all this just to be clear
00:08:16.700 with yourself gosh some amazing stuff
00:08:18.800 and you know what I met Cory once it
00:08:20.870 turns out we actually grew up very close
00:08:22.700 to each other we didn't actually
00:08:24.200 physically grow up next to each other we
00:08:26.120 grew up in towns that were close to each
00:08:27.889 other all right I can see it in his
00:08:29.090 drawings he's got he's got some really
00:08:30.560 good taste
00:08:31.099 you know how else I can tell he's got
00:08:32.390 some good taste Ethan Cole off this you
00:08:34.370 know my middle name is that's right baby
00:08:36.140 my name is <PRESIDIO_ANONYMIZED_PERSON> look at
00:08:37.880 that that's crazy huh
00:08:43.039 fight him for the title you know let's
00:08:47.000 take a little bit of what we just got
00:08:48.590 learnt them we're gonna be applying it
00:08:50.030 to your drawing challenges already off
00:08:53.000 the bat your line art is already pretty
00:08:55.160 solid alright so there's not so much
00:08:56.960 that I can break down here more like
00:08:58.640 point out kind of like what you're doing
00:09:00.200 right okay for this challenge it might
00:09:01.850 have been a thing where I was telling
00:09:02.720 you to wear a jacket or something you
00:09:03.980 don't have to be naked necessarily but
00:09:05.750 take reference with like a tight shirt
00:09:07.880 or you know a short sleeve and then if
00:09:10.160 you want to take reference with the
00:09:11.000 jacket over it you know you can do that
00:09:12.770 too but this jacket is given us some
00:09:14.630 hints here of which way the arm is
00:09:17.360 turned and now we need to make sure we
00:09:19.550 get that down and the the drawing here
00:09:21.800 what you are doing here at the sleeve
00:09:23.450 again it's our job to be clear in our
00:09:25.790 designs of which way the body's turning
00:09:28.010 so just having a straight line like this
00:09:29.600 even though a jacket might do that in
00:09:31.550 real life things can happen in real life
00:09:33.440 I can like put my leg behind my head and
00:09:35.360 roll around on the floor it doesn't mean
00:09:36.770 it's a good a good design so it's our
00:09:39.200 job to make it clear which way this arm
00:09:41.150 is going you're gonna see it to here at
00:09:43.070 the top of the jacket the way this
00:09:44.300 jacket is made manufactured it can also
00:09:47.300 follow the the line of which your body
00:09:50.000 is turned so right here you got a patch
00:09:52.580 or something naturally you think it's
00:09:55.370 gonna go down this way
00:09:56.300 or if it's a print on a jacket or
00:09:58.520 something like that in reality the
00:10:00.020 perspective that you've got going here
00:10:01.850 is you're looking up at this character
00:10:03.320 the shoulders gonna be doing this
00:10:04.750 honky-dory thing where it's coming over
00:10:07.370 so the top of this patch or something
00:10:09.140 like that just to be clear we got to
00:10:11.330 make sure that it's following the
00:10:12.470 perspective of the arm alright don't you
00:10:14.810 ever do that again again the easy way to
00:10:17.090 figure this stuff out is to take good
00:10:19.310 reference shot of yourself clear
00:10:20.810 reference anytime you have a question
00:10:22.400 about you know which way the perspective
00:10:24.260 is this that you go back to your your
00:10:26.270 your reference and it'll it'll tell you
00:10:28.070 everything you need to know baby there's
00:10:29.450 no guessing in this game now ghost has
00:10:31.520 some really cool stuff up here ghost got
00:10:33.110 a really nice squat going on very very
00:10:35.030 clear ghost is very clear in the overlap
00:10:36.980 it did take a look at that this overlap
00:10:38.870 very very important which was the toe
00:10:40.880 face in which ways of what not as for
00:10:42.920 line quality and ghost is killing it
00:10:44.450 alright a very clear line we know which
00:10:46.670 ways is quite shoulders and hips that's
00:10:48.740 all you got to get right baby
00:10:49.850 this shoulders are raised but in your
00:10:51.290 reference shot it's kind of down a
00:10:52.640 little bit so let's
00:10:53.660 connect that we always check which ways
00:10:56.090 the collarbones going here shoulders is
00:10:58.070 a really big part because the the nuance
00:11:00.080 of your emotion is in your shoulders
00:11:01.760 okay you got me like this now if I bring
00:11:03.410 them up a little bit makes me look maybe
00:11:04.910 a little bit more nervous all right
00:11:06.050 bring them way down now look more
00:11:07.940 relaxed or you know lazy or something so
00:11:09.830 whatever you're doing hips whenever
00:11:10.940 you're doing shoulders the nuances of
00:11:12.590 the slight raise or whatnot it's very
00:11:15.110 important to pay attention to those
00:11:16.130 moving on there's not a lot wrong with
00:11:17.780 all of these I just kind of wanted to
00:11:19.070 show them this one is the only thing I
00:11:20.600 can say is you know just make sure you
00:11:22.400 follow these perspective grids of the
00:11:24.110 clothes that you're wearing again line
00:11:25.610 quality you're being very solid with
00:11:27.200 your lines which is cool because it's
00:11:28.490 forcing you to make those decisions but
00:11:30.380 let's take a look at these these thighs
00:11:32.300 right here now we can see the difference
00:11:34.010 and why the volume doesn't feel is full
00:11:35.870 because it just starts and ends right
00:11:37.880 here all right that shape is a lot more
00:11:39.650 flat than this rounded it's because
00:11:41.450 you're thinking of this image as a two
00:11:43.310 as a one dimension flat illustration
00:11:47.060 well aren't you doing the future is
00:11:48.290 think about how these things wrap around
00:11:50.030 and start drawing more confidently in a
00:11:52.160 volumetric form think about the mass of
00:11:54.980 the thigh and those are really helpful
00:11:56.840 if you look back at your reference maybe
00:11:58.430 get a tattoo on your leg or something so
00:12:00.290 you can see the volume of which your
00:12:02.090 thigh takes up moving on right here fish
00:12:04.010 is killing it again line quality is good
00:12:05.840 we can see the clear
00:12:07.220 Yatta Yatta looking really good fish got
00:12:09.320 fish's own style that's for sure fish is
00:12:11.750 doing everything right the only thing I
00:12:13.160 would say is whenever you're taking your
00:12:14.690 reference shots
00:12:15.470 make sure you act these things out as if
00:12:17.240 it's really happening to you and it's
00:12:18.770 hard because sometimes we don't go
00:12:20.060 through actual martial art training but
00:12:22.190 really put yourself in that kick study
00:12:23.840 how people do kicks and then think about
00:12:25.790 getting hit in the side study how people
00:12:27.620 get hit in the side you know there's
00:12:29.270 gonna be a pinch in a curve to the body
00:12:31.010 when it gets hit or an animation you
00:12:32.990 really want to study animation because
00:12:34.400 they know how to push those things boom
00:12:36.080 you get hit in the side you're going to
00:12:37.250 be pinching there everything's gonna be
00:12:39.050 going to that point and the other side
00:12:40.850 is going to be a more of a curve you
00:12:42.980 know and if you study action scenes
00:12:47.270 where people are kicking or if you study
00:12:48.740 MMA or whatever you can see when
00:12:50.390 somebody's thrown a kick there's going
00:12:51.680 to be a specific energy to that motion
00:12:53.300 it's good to study those things the
00:12:55.010 stuff that you're referencing needs to
00:12:56.720 be authentic looking good though all
00:12:58.340 these things are pretty nitpicky it's
00:12:59.750 because people weren't focusing probably
00:13:01.910 on the the poses they're focusing on the
00:13:04.100 lighting which is what I told them to do
00:13:05.750 it
00:13:06.170 the challenges you're supposed to put
00:13:07.430 yourself in specific lighting scenarios
00:13:09.019 and try to shade the right way go check
00:13:11.720 out the poco video and that's where I
00:13:13.339 talk about the shading and that's what a
00:13:14.779 lot of these people are doing which this
00:13:16.610 person did really well
00:13:17.959 I love the clarity in the line the
00:13:19.880 lighting that's just looking really dope
00:13:21.740 moving on this guy did it really good
00:13:23.540 too awesome stuff it looks like a looks
00:13:25.940 like a Nike ad straight up the pose is
00:13:27.800 really good natural nice natural like
00:13:30.260 shoulders falling this jacket these
00:13:32.690 hands the whole pose is super iconic
00:13:35.360 this person's acting is down the poses
00:13:38.209 down everything looks really cool and
00:13:39.589 the execution of it is awesome this line
00:13:41.600 quality very decisive and the lines also
00:13:44.120 used this very strong lighting coming up
00:13:45.980 from the bottom and he simplified the
00:13:47.750 the lighting in the final really good
00:13:49.310 looking stuff moving on again a really
00:13:51.680 good job with the lighting nothing
00:13:53.180 really to say on this one you know you
00:13:54.440 got the you've got your style down
00:13:56.149 you've got your line quality down just
00:13:57.620 cool stuff then looking you've got some
00:13:59.149 of the reference down here you reference
00:14:00.949 how Ghibli does their their shading and
00:14:02.779 stuff
00:14:03.050 alright this person's doing something
00:14:04.490 that I really want to make the video
00:14:05.600 belt and that's 3d and how you can use
00:14:07.490 3d as reference very useful and you
00:14:09.589 executed it pretty well I like the line
00:14:11.300 quality everything's looking good on
00:14:12.709 this one
00:14:13.040 let's move on ok this is something you
00:14:15.019 can do to going through films picking
00:14:16.880 out Pope I thought it broke for a second
00:14:20.720 about to be very disappointed if my
00:14:22.640 cigarette broke going through films and
00:14:25.070 going through screen shots trying to
00:14:27.350 find poses at work trying to find
00:14:29.000 lighting situations at work backgrounds
00:14:30.949 at work things that you like why is this
00:14:33.050 so important because everything in
00:14:34.490 television everything in a TV show
00:14:35.930 everything in film all the shots are not
00:14:38.480 by accident every single shot
00:14:40.550 composition lighting the nuances of
00:14:43.310 where they're standing and whom this
00:14:45.440 wire and where's whom every single shot
00:14:47.510 is manufactured and they make sure that
00:14:49.670 everything's working perfectly every
00:14:51.470 single frame is a painting and they're
00:14:52.790 really good to go and study from this is
00:14:55.250 a really good shot maybe not to study
00:14:57.199 lighting so much because it's a very
00:14:58.819 clear shot but if you go to more
00:15:00.680 dramatic shots or something something
00:15:02.810 with like a very hard P light then you
00:15:05.389 can start to see those define shadows
00:15:07.310 alright good stuff though moving on
00:15:08.839 here's almost an example of the line
00:15:10.699 quality that I'm talking about
00:15:12.050 again you can blame this on style you
00:15:14.060 can say it's my style to do this yadda
00:15:15.649 yadda yadda but it's our job to make it
00:15:17.720 more clear to clean up this line when
00:15:19.850 you
00:15:20.000 learning but that's not let's say this
00:15:21.380 person doesn't have clarity look at the
00:15:23.210 the clarity in the hand here I know
00:15:25.520 which way these fingers are turning
00:15:26.960 there is some clarity in this again you
00:15:29.210 can go back to doing this if you want to
00:15:31.190 to learn faster you have to realize your
00:15:32.960 mistakes
00:15:33.470 that's what drawing what the hard round
00:15:35.180 brush really does for you realize your
00:15:36.980 mistakes in clarity all right again this
00:15:39.350 is a lighting challenge I realized that
00:15:41.150 all right so good job with the lighting
00:15:42.620 as well as this person very hard light
00:15:44.600 right here clear line clear shadow good
00:15:46.970 stuff you could have up the brightness a
00:15:48.590 little bit in the shadow so we could see
00:15:50.150 a little bit of the details in there one
00:15:51.920 small note the lighting is there to
00:15:53.960 describe the form mood that's all good
00:15:56.480 you know it's fine but describing the
00:15:58.280 form is lighting 101 this right here
00:16:00.920 under the chin we want to make sure that
00:16:02.510 describes the form of the the neck the
00:16:04.820 lighting could happen that way where the
00:16:06.740 light comes you know through the bottom
00:16:08.300 of the neck or whatever but if you if
00:16:09.830 you zoom out and you blur your vision it
00:16:11.900 looks like he has a bump on his neck and
00:16:13.760 it's our job to be clear and the
00:16:16.130 lighting this is a surface this is a
00:16:18.020 surface there's a differentiation of
00:16:20.270 those all right good stuff I just wanted
00:16:22.340 to show this person's oh this is getting
00:16:25.339 really nasty all right again I know I
00:16:30.020 may have said to use a jacket but if
00:16:31.850 you're trying to take reference in a
00:16:33.500 black jacket and black shorts you're not
00:16:36.710 gonna see a clear definition of design
00:16:39.620 so so get naked good stuff though other
00:16:42.680 than that
00:16:43.220 this person's kind of doing what I'm
00:16:44.600 talking about here I can tell they went
00:16:46.190 in and kind of did the scribbly mess
00:16:47.720 where they're just trying to figure out
00:16:49.070 what's what you know and that's cool
00:16:50.900 because right over here you came in and
00:16:52.430 cleaned it up but we want to be a little
00:16:54.589 bit more decisive in this so you can
00:16:56.300 come up come in after this and do a very
00:16:58.190 specific cleanup we know there's a bump
00:17:00.500 here and we know it comes back in here
00:17:02.060 so let's just now we're coming in and
00:17:04.189 being more decisive with our lines if
00:17:05.990 you break down shapes you'll see that
00:17:07.760 the wrist kind of pops out like this it
00:17:09.650 does a little popping that does a little
00:17:11.089 drop right there so we want our shadow
00:17:13.939 to help define that the shadow right
00:17:16.220 here could be following and describing
00:17:18.560 this form because you don't need line
00:17:20.119 you don't always need line to describe
00:17:21.949 the form you want to use shadow to do
00:17:23.810 that for the most part this line is
00:17:25.310 pretty clear you've got the overlap of
00:17:26.959 this foot you're kind of doing that on
00:17:28.369 the wrist right here you're showing the
00:17:29.929 overlap okay very clear in the
00:17:32.250 you were going for clarity I think you
00:17:33.630 did a pretty darn good job of it all
00:17:35.550 right let's move on here's another one
00:17:36.810 looking pretty good with the the
00:17:38.370 lighting situation here with really good
00:17:39.840 reference hard strong key light coming
00:17:41.850 in here good job on this one okay I
00:17:43.920 really liked this one it's very clear
00:17:46.740 there's a style in it and you really
00:17:49.500 went in here I like the clarity in this
00:17:51.540 this area nothing much to say you're
00:17:54.300 very very clear with this the lighting
00:17:56.280 isn't the strongest because more like a
00:17:57.630 bloom light that you have you know it's
00:17:59.340 not it's not such a hard light that you
00:18:01.320 can see every clear cut but as for line
00:18:03.720 decisiveness you got it going you got it
00:18:06.660 going on all right this one's really
00:18:07.830 cool he's got a style going on
00:18:09.360 everything's looking good again it's not
00:18:11.580 the best for lighting because it's just
00:18:13.410 a more of like an overall atmospheric
00:18:15.300 lighting it's really good for posing
00:18:16.650 especially if you want to find out about
00:18:18.150 cloth and how it turns so I know this
00:18:20.340 guys weren't a little bit more of a
00:18:21.360 tight suit but we can still learn from
00:18:23.070 this coming in here and breaking down
00:18:24.300 how this cloth is working alright it's
00:18:26.100 bunching up right here the most
00:18:27.480 important things that I look for in this
00:18:29.190 is this shape right here that right
00:18:31.800 there is an overlap in itself and I can
00:18:34.410 simplify it by coming in here and doing
00:18:36.330 something like this we see that it kind
00:18:38.010 of pops pops out right there kind of
00:18:40.140 does something like that right there
00:18:41.460 there's another one look at it that
00:18:43.200 overlap that's what we want and I see
00:18:44.880 right here it can get all wavy and whoa
00:18:46.500 look at all the waves now we just keep
00:18:48.390 it simple you just come in here and cut
00:18:50.160 in even this bump right here we don't
00:18:52.020 have to do that we could do it but we're
00:18:55.140 not gonna all right good stuff moving on
00:18:57.180 this guy has aligned qualities a little
00:18:58.830 bit thicker so you got the thick line
00:19:00.540 quality it can kind of trick you up and
00:19:02.520 I used to do this all the time I used to
00:19:04.020 make my brush really big but really what
00:19:06.120 I'm doing is hiding all the mistakes
00:19:07.710 that I am making I'm hiding the mistakes
00:19:10.260 from my own self don't you ever do that
00:19:12.630 it's really important to realize your
00:19:14.250 mistakes so maybe pickle line quality
00:19:16.380 that's a little bit thinner for learning
00:19:18.450 all right if you want to go back in and
00:19:19.890 make your line quality all pretty or
00:19:21.450 whatnot and do do your own style you can
00:19:23.850 do that over it keep your style don't
00:19:25.650 don't blame your mistakes on your style
00:19:27.450 we're just gonna look at this hand right
00:19:28.800 here's a good example right here when I
00:19:30.390 break this down with the thinner brush I
00:19:32.130 see that there's a point here where it
00:19:33.390 comes back in we're just going to try to
00:19:35.040 focus on that right here it's very easy
00:19:37.320 to
00:19:38.410 just kind of block out that whole
00:19:39.730 section and one stroke there are artists
00:19:42.190 that do that there are artists that have
00:19:43.570 the thick to thin type of curved thing
00:19:45.100 but they understand the structure that's
00:19:46.840 underneath they understand the turning
00:19:48.400 point and where they need to emphasize
00:19:49.810 you come in there with the smaller brush
00:19:51.970 to figure out where your turning point
00:19:53.740 is and where you need to emphasize and
00:19:55.510 then you got it all right bouton boom
00:19:58.030 good looking stuff I really like the
00:20:00.400 creativity of this the the lighting
00:20:02.770 reference that this dude's using he's
00:20:04.150 actually got a light up and it's like
00:20:05.920 blooming out and making these shapes on
00:20:07.780 his face he didn't necessarily use the
00:20:09.730 shapes or anything in his reference but
00:20:11.620 he took the the idea the concept of this
00:20:13.840 even then I think you nailed it you
00:20:15.490 weren't necessarily studying the
00:20:17.050 reference that you had as much he still
00:20:18.820 did good work nice clear line I like
00:20:21.370 this that guy's a winner winner winner
00:20:24.240 okay this is a very interesting thing
00:20:26.500 this person took out the line art of the
00:20:29.200 the the hands or the skin ever anywhere
00:20:31.750 the skin doesn't dinkle the person took
00:20:34.180 out the line art that's also an option
00:20:35.920 but if you're doing that make sure that
00:20:37.690 you have done the line art in the first
00:20:39.670 place and you're making those shapes
00:20:41.410 very clear to yourself alright on the
00:20:43.720 jacket on the clothes anywhere else you
00:20:45.220 can do the line art looking good this
00:20:46.930 this this guy's the winner for best pose
00:20:49.540 shot went through the effort of putting
00:20:52.240 the camera up high I like this shot you
00:20:54.430 got like a grid line down here looking
00:20:56.200 good I like the shot you didn't really
00:20:57.580 follow the lighting but whatever you
00:20:59.350 know you got a little bit of lighting on
00:21:00.760 the tip of the nose and the forehead
00:21:03.460 regardless good stuff good stuff moving
00:21:05.320 on all right if this is your style to do
00:21:07.210 every single shadow and try to figure
00:21:08.770 out like do a value study or something
00:21:10.480 you're doing it but this is something
00:21:11.950 that I found myself doing a lot and you
00:21:13.510 need to be aware of it be careful about
00:21:15.400 having too many shadows it's our job to
00:21:18.220 find the most important shadows to
00:21:19.900 emphasize and then cut out the rest this
00:21:22.330 is a very important shadow right here
00:21:24.010 this is a very important shadow this one
00:21:26.230 right here because it's differentiating
00:21:28.030 the surface of the arm and the surface
00:21:30.580 of the the chest area on this jacket and
00:21:32.770 this shadow right here because it's also
00:21:34.750 describing the form of this little a
00:21:37.120 flappy flute right there maybe even this
00:21:39.040 one right here because it's describing
00:21:40.270 this form right here and the the arm so
00:21:43.030 it's our job to pick out the shadows
00:21:44.920 that are most important not every single
00:21:46.660 one needs to be to be done okay for the
00:21:49.300 most part you want to do shadows like a
00:21:50.900 talk about everything else in design you
00:21:52.430 need a big medium and small you can have
00:21:54.890 one major shadow shape and then you've
00:21:57.080 got some maybe two mediums and then a
00:21:59.360 few small ones sprinkled in there all
00:22:01.100 right go go watch my videos about big
00:22:02.900 medium and small so I got right there
00:22:05.300 baby all right these are the last few
00:22:06.740 three we're just gonna go over these
00:22:07.850 real fast got a very clean specific
00:22:10.220 distinct shadow shape they're looking
00:22:12.590 good moving on all right this one's
00:22:14.270 looking pretty good the only one big
00:22:16.130 thing that I see wrong with this one you
00:22:17.870 got a big shadow on your face here so
00:22:19.580 you want to make sure you do that as
00:22:20.750 well right there all right good to go
00:22:23.300 and the final one I think you did a
00:22:25.130 really good job with this one even
00:22:26.510 though they're really difficult to do is
00:22:28.220 to get these shadow shapes down from a
00:22:30.050 light that's coming from underneath
00:22:31.250 again for learning maybe you want to
00:22:33.020 take the brush size down a little bit
00:22:34.520 kind of force yourself to make these
00:22:35.930 decisions of which way the chin goes all
00:22:39.260 right that's pretty much it both all
00:22:40.730 right I've got to have an excuse to put
00:22:42.350 the student a thumbnail so a really
00:22:44.180 really cool design from Jay Kim this is
00:22:46.610 another situation where the line quality
00:22:48.290 is kind of more loose sometimes it kind
00:22:50.990 of looks a little bit scribbly but we
00:22:52.430 can still tell what's going on here
00:22:54.890 clarity is the point of all of this and
00:22:57.230 Jay Kim gets it done even to a point
00:22:59.570 where Jay doesn't even use line right
00:23:01.790 here necessarily it's just insinuated
00:23:03.800 very clear outline of the shape of the
00:23:05.630 hair up here that's what we're looking
00:23:07.130 for that's what we're looking for all
00:23:19.220 right I want to do another drawing
00:23:20.540 challenge these drawing challenges they
00:23:22.220 take a long time to do but it's worth it
00:23:27.250 I'm gonna get to that in a really quick
00:23:29.450 second I just wanted to read this
00:23:30.740 comment from my second-to-last video
00:23:32.990 very funny here's a comment that I
00:23:35.420 posted to the top
00:23:38.309 Wow this is very pathetic you cannot be
00:23:40.769 an artist if you behave this way in fact
00:23:42.989 it makes your art mistakes even more
00:23:44.580 clear to see you're not an expert you're
00:23:46.469 not a master you are pathetic loser who
00:23:48.509 prides himself off of being mean but
00:23:50.999 that your art is terrible in fact no
00:23:53.340 style
00:23:54.149 DreamWorks you're really gonna brag
00:23:57.239 about working at DreamWorks you're
00:24:00.509 bitter boomer you are not an artist it's
00:24:03.659 so disgusting that you exist nothing you
00:24:05.969 make is art nothing
00:24:07.320 also peepee face if you didn't know
00:24:10.229 artists subjective and has style I can't
00:24:12.989 believe you have ugly art ugly heart and
00:24:15.950 personality and an ugly face you are not
00:24:21.330 welcome in my art community honestly you
00:24:23.820 should seek therapy the links your
00:24:25.440 YouTube and make things for you art is
00:24:28.320 about sharing your work and loving it
00:24:30.450 and hoping others will love it but of
00:24:32.909 course there's ugly people like you who
00:24:35.460 clickbait and roast for views so you can
00:24:38.489 think so highly of yourself but deep
00:24:43.259 down you're a sad little man have fun
00:24:47.009 and Dreamworks oh that is by far one of
00:24:51.239 my favorite most favorite comments this
00:24:53.039 already has 81 replies to it I don't
00:24:55.049 want anybody to go in and hate on these
00:24:58.080 type of people that do these posts for
00:25:00.059 one they could be satire themselves but
00:25:02.039 also I want people to feel open and free
00:25:04.739 to do these type of comments especially
00:25:07.320 if they're serious it's just fun it's
00:25:09.210 just good fun and it cracks me up anger
00:25:11.549 and hatred begets more anger and hatred
00:25:13.289 okay so uh but it's still fun to point
00:25:15.719 them out it's just good fun it's just
00:25:17.129 good fun all right to the drawing
00:25:18.509 challenge what I want you guys to do is
00:25:20.429 take a reference shot just like we're
00:25:22.889 always doing all right hashtag reference
00:25:24.629 challenge so for this reference
00:25:26.159 challenge though I want you to take an
00:25:27.749 action shot or a dramatic shot or acting
00:25:30.179 shot or whatever you want to do but do
00:25:32.309 it with the friend
00:25:33.299 do it with the family member you can do
00:25:34.979 it with your dog do it through your
00:25:36.210 next-door neighbor or a stranger on the
00:25:38.129 street me personally I fill that space
00:25:40.409 in my reference shots I act as two
00:25:42.450 people but sometimes especially when
00:25:44.639 you're first starting out you need two
00:25:46.109 people interacting with each other to
00:25:48.029 see the clarity to see how different
00:25:49.859 masses
00:25:50.640 interact with each other it's very very
00:25:52.260 important to do this a lot of my
00:25:53.880 beginning reference shots in this type
00:25:55.260 of stuff they were done with other
00:25:56.550 people especially my type of work which
00:25:58.680 was like action shots so it's a lot of
00:26:00.600 contact a lot of grapples a lot of you
00:26:02.790 know holding people into different
00:26:04.560 positions and I needed to see how mass
00:26:07.230 works in that space very important to
00:26:09.660 see how mass actually works as opposed
00:26:11.730 to trying to figure out how it works out
00:26:13.830 of thin air again you want to wear
00:26:15.540 shirts that are you know short-sleeved
00:26:17.190 or whatever or pants that are a little
00:26:18.630 bit more clear in design so you can see
00:26:20.430 the hips
00:26:20.850 make sure you see those hips makes you
00:26:22.260 see the shoulders very big very big deal
00:26:24.240 if you watch my other videos you can
00:26:26.010 hear me talking about the lenses and
00:26:27.510 type of stuff that you use and from the
00:26:29.430 cameras a lot of the cell phones that we
00:26:31.110 use that they kind of compress
00:26:32.820 everything to where you don't get
00:26:34.170 foreshortening and that type of thing I
00:26:35.670 just want to point out okay I got this
00:26:37.470 here new iPhone 11 the thing with the
00:26:39.390 three cameras you do not need this to
00:26:41.910 take good reference shots do not think
00:26:44.100 for a second that I'm telling you that
00:26:45.810 this will make you a better artist
00:26:46.950 because it won't but if you were to have
00:26:48.990 one there's a setting down here that's
00:26:50.820 0.5 all right not gonna show you the
00:26:52.380 difference here here's the regular lens
00:26:53.760 okay this is me holding up the regular
00:26:55.380 lens this is what you guys are shooting
00:26:57.060 pause for threatening things at maybe
00:27:00.510 but now let's go point five now look at
00:27:03.600 it
00:27:03.750 boom boom again you don't need a phone
00:27:06.240 to create foreshortened images or for
00:27:08.220 reference even but I just want to show
00:27:09.900 you the different types of lenses and
00:27:11.460 how it can change how you perceive how
00:27:13.890 it changes shots alright maybe I'll do a
00:27:15.570 video over it later but I'm just trying
00:27:17.010 to show you the differentiation of this
00:27:18.690 alright let's see it again got the
00:27:19.770 regular one this is a standard cell
00:27:21.810 phone BAM
00:27:23.070 or shortens pretty bananas huh even
00:27:25.980 bring it down here all the way up
00:27:32.930 all right mainly I just wanted to show
00:27:34.550 you that so you can have a
00:27:35.780 differentiation you know there's a
00:27:37.220 difference in types of lenses and how
00:27:39.410 they compress and how foreshortening
00:27:40.970 works all right lastly I want to say I'm
00:27:43.070 almost at 200k that's pretty darn
00:27:44.810 impressive you guys are blasting it
00:27:46.490 alright we're getting to learn we're
00:27:47.540 getting turned and we're growing I
00:27:49.610 welcome all of you to join the reference
00:27:51.530 challenge alright so if you like this
00:27:53.270 video if you like this content alright
00:28:00.920 for editing you can just cut out after
00:28:05.750 I've obviously stopped talking maybe
00:28:08.450 even up to this point you can just let
00:28:11.270 it play out
00:28:12.220 but yeah maybe something a little bit
00:28:17.840 different something a little new
00:28:20.390 [Applause]
00:28:21.400 [Music]
00:28:25.389 you