Why I QUIT my DREAM JOB as an industrial designer



going so I have something to show you what kind of a surprise as well my wife she works at a shelter and we found this dog day hi how are you she actually didn't get along with thee I guess the owners didn't get along with her so it was either take her here or she would actually be put down it's gonna be here for a couple of days and hopefully we can get someone to adopt her right you want to get adopted if you know anybody in the Tampa st. Pete area who wants a dog she's super friendly and good with cats as you can see so if she's super chill and if you know anybody let me know what is up everybody is Myron here with a new sketching video and I'm just gonna doodle in this video not really sketch anything in particular but what I am going to do is I'm going to talk about the journey to becoming a designer and why what I'm doing right now and why basically the story behind what I studied and what I worked where I work and what I'm doing right now it was a question in the comments on I think the previous video so I thought why not make a video on it and doodle something at the same time if you've been following my journey for a while or my Instagram or YouTube or any of the social media I think you know that I'm from Sweden and I write now I live in the u.s. I live in Florida I started the I always wanted to be a designer and my dream when I was a kid was to was to work as a designer sketch cool stuff next to the beach and that was my main goal for four yes since I was like eight years old I always want that that was what I wanted to do so I started by you know I always had a passion for sketching obviously because that's what I love doing and I thought how can I make a living sketching stuff and especially how can I make a living sketching stuff while I live next to a beach in a sunny warm place so that was kind of what I had in the back of my head for a very long time and I kind of led all my decisions that that guided my decisions so I studied I applied for bachelor degree in industrial design in Sweden and then I got in and as soon as well it's called mid Sweden University great school had a lot of fun I met some awesome people there good friends that I wish were living closer but it was a great time and that was three years after that I felt like cars are you know I love to sketch cars so maybe I should try becoming a car designer so that's what I did I applied to Italy to SPD and same thing there I got in to SPD in Milan and that was a year of master degree so that was cool got in there got to sketch some cars and this is kind of where where things started to change for you know for me because I had this image of what a car designer was and what what you did as a car designer but that image China changed in Italy I kind of need naive image of what I was going to do I thought it was gonna sketch cool cars all day but obviously that's not how car design works and if you're a professional car designer you're probably laughing at me right now which I totally understand that was not what I was going to do so I cannot Italy kind of gave me the feeling that there's a lot of politics I guess involved in car design and who gets picked to do what and stuff like that and you know personally I don't want any of that stuff all I want to do is to sketch things use my markers my my legendary big pen at this point and some some random printing paper and just sketch things that's that's what I ever wanted to do I thought I wanted to be a car designer but not really so hokey run so let's cut to after Italy I got my master's degree now I guess I was going to apply for a job somewhere I still had the dream of living next to a beach so I applied to to I worked a bit in Italy and Switzerland for that was very short time around three months I think after I graduated we did some I just did some concept sketches for for a couple of companies there and after I left that place I went home to Sweden and started applying the crap out of you know company so I just applied everywhere there was abroad and that met the criteria of having a beach close to so I I applied back to South of France Italy Australia I applied here obviously to the US I even applied to Canada because I thought why not I mean it would be a cool country to go and work working so I sent out I still have my old emails in my old Gmail account of all the applications that I sent out and there were a lot of applications allah-allah a hundreds maybe a hundred a day for a month or so to all kinds of companies letting them know what you know what I have to offer so I tried to do some research I didn't have a template of an email that I sent out so this took a lot of time but what I did I tried to research the company that I was sending the email to and tried to figure out what my specific skill set could help them with so what if I was the owner of the company and I was applying myself to my own company how would I present myself as a potential employee at that at my own company yeah I want to know what I can bring to the table that's number one why am I paying you to be here in my company so I was trying to figure out what they needed help with and if I was a right good fit for them if I actually can help them if I if I knew that I couldn't help them with my skills I just wouldn't apply simply simple like that long story short I got the job in Florida moved over here spent it was a small design studio I spent about a year and a half there I quit that job because I felt something was missing I went online I started the sketch monkey that's that's what I wanted to do I wanted to sketch I didn't really want to go through an entire project it took six months and do sketching for two weeks and then just do rhino and alias for I don't know how long months I just didn't like to do that and I also felt like the 95 style of lifestyle is just not something I can do I don't like to be told when I can do something I don't like anybody else to have control over my time that's a that that kind of came slowly that that realization just getting to know myself basically over these years what I actually want to do and I didn't know that from start I thought I wanted to work as a designer but that that was not the case so fast-forward I got another job in Deerfield Beach which is close to Fort Lauderdale and it was a great job a great workplace everything was perfect I had my car my Mustang and you know all the everything you can ask for from a from a job basically but I still wasn't happy and I couldn't really figure out why until I realized that you know either you keep going right now you're very comfortable I'm very comfortable at this job and I can do this for yeah sure I can I can stay here and do you know be comfortable or I can just go for whatever what it is I really want to do which is to sketch everyday and what I'm doing right now like talk with you guys and sketch on a video this is what I want to do with my time like I love doing this so I can't do it when I work at 9:00 to 5:00 and this is not my only light this is not this is definitely not the only thing I do during my days I have a couple of online businesses that I started as well in outside of sketching that doesn't have to do anything with anything to do with design it's a couple of ecommerce businesses so I spent my time doing that and it's going really well at the moment I'm not you know I don't regret anything because I I don't like being comfortable when I feel like I get too comfortable I know that something has to change and that's exactly what happened and when I quit my job so I quit my job in August of 2016 and I've been self-employed ever since since that day and I would not change change it for anything so I guess I hope that answered the question that was posted how did I get here Oh or I just wanted to I don't think I ever told told you about the whole story like this before so I think it's a good idea to do that and if you want to be a designer I mean go for it until you're there you don't really know what you're going to think about it if you're gonna like it or not so the only only way to do that is to basically you know just go ahead and go after it and then when you're there you might love it I don't know I know a lot of people a lot of my friends designer friends just love their jobs which is totally cool happy for them it just wasn't for me and that that applies to any job I just don't like having a job that's that that's the main I guess the main issue or if you want to call it an issue or whatever but the main main thing here so I it's not that it doesn't matter where I would work it's still the thing the thing about owning my own time that's the most important thing for me and you know I don't want to have to talk to engineers all day which is great because I gave engineers a sketch like this and you know what's what happens I see the product gets engineered which means that basically ruins everything that I want want to put in the product it's either too costly or the you know the they don't have the molds it can't create the moles to create it and boring stuff like that did I don't really care about which makes me a bad designer I know but that's the whole reason why I quit the design industry and just focus on sketching these days so that's that's about it I mean I don't know what else to tell you if you want to know anything else just let me know more than happy to talk about anything you want to know I've kind of done the journey to you know to get from wherever you are right not to becoming a designer so if you have any questions about that just let me know and I'm not sure where I'm going with this sketch it looks like what am i this is like the this car right here is the template of a 3/4 rear view that I sketched whenever I when I don't think about what I'm sketching like right now I didn't even like whoa it's a car here I didn't even think think about sketching when I was sketching this so I guess this is my default design and I think you know that because this car is all over my youtube channel maybe I should maybe I should build this car someday that would be cool but just focus on what you want it because I think I think it takes some time to get to know what you really really want to do that's not something you know when you're like 18 or 20 and under I don't think you know really what you want to do because even if you think you do that it's going to change that's about it comments below if you have any questions I'm gonna stop this video right here and that's about it thank you so much for watching I hope I didn't ramble too much I don't know I probably did but it's alright I hope you got the yep the points across I hope to see you next time and take it easy guys you

HOW TO CONSTRUCT, DRAW AND RENDER A HUMAN HEAD



hi everyone and welcome to this very simple tutorial about how to draw a human head and you know there's so many tutorials on the internet right now about how to draw a human head and everyone has their own methods so what I'm going to show you today is pretty much how I like to do okay now I might not for my current drawings I might not do all these particular construction lines that I'm going to show you but the thinking is Baja is behind each and every one of my drawings okay I'm always thinking like this okay that this is doesn't necessarily mean then we'll actually go and throw all these construction lines in what it means is that this is exactly what I'm thinking about whenever I go into drawing a head so I'm going to show you how I construct the head and then I will show you how I render it okay so whenever somebody draws a head or whenever I see it a lot of people they go into drawing their head like this they would go in okay and I'll try to draw this a little bit darker so you can see so they will start with your oval of course they would have your construction line down the middle here suffering the head in two halves halves here they would have the line in the middle here like this in the middle here and line in between here so that be half and then the mouth will be half again and that's not wrong that's not wrong that is completely right in terms of proportions of the head however this is not how I think here because the way this is laid out here whenever I'm someone draws like this okay not just saying not saying everyone but some people whenever I see them draw like this what happens is they're drawing still feels flat to me whenever they're doing this why because when you're doing it like this okay when you're starting your drawing like this you're going at it as if it is 2d when the world we live in is actually 3d okay so let me show you what I mean when I'm when I talk about that so I'm going to go ahead and erase this okay so let's get rid of this shaky-shaky okay so instead of thinking of flat objects instead of taking circle of circles I'm thinking more in spheres instead of thinking in lines I'm thinking in cubes okay so let's to make my point across I'm gonna do a head and more of a three quarter turn okay so what I do is I'll start out one with a circle and you'll see a lot of people starting out with a circle okay but what's different about my circle okay when I do the construction line here I'm not going straight across like this I'm going around I'm going around this I'm going around here like this okay well just looks like an oval with an oval and then I'm gonna go around like this okay you see what I've been doing here okay I'll try to darken up a blue line so you can see it I know it's hard to see the blue line I just didn't get a chance to go to courage yet to get myself a darker pencil okay because I know you guys have been saying that you can't see my blue pencil here so I'll just dark it up the line so hopefully you can see that a little bit better right so I'm thinking now as you can tell here now I'm doing a little bit more in 3d correct that's how I'm thinking now I'm thinking about the surface of this sphere that's what I'm thinking about here okay and then from here I'm going to go from this line here and now I'm going to add a cube so like a cube that kind of hangs down from here like this okay like that there you go and now I'm going to think about going around here like this again okay and again I'm thinking around the surface here around the surface and around the surface again okay so whenever you see me draw you won't see me actually do most of this like maybe I'll do it very very loosely and roughly but this is what I'm thinking I'm thinking more in 3d shapes as opposed to like flat circles and squares I'm thinking of cubes and years that's how I'm thinking of I think when I took a 3d animation uh back in 2006 that's what got me thinking about it and then the neck it's more of a cylinder and it'll be more of a cylinder as opposed to I just like two lines going down there's depth here there's volume now okay so that's how I'm thinking whenever I'm constructing all of my figures now again I might not be putting all these lines when I'm drawing but this is exactly what I'm thinking of whenever I'm doing this okay so with that let's start actually constructing the face here okay so another reason why the lines are like this is because this is pretty much how the skull is shaped so we have the big ball here in the back here okay and then the thing hanging out here that would be more the jaw area okay now okay right okay right now let's start getting into some details okay let's start with the eyes okay so maybe this is a little too high for the eyes as we I might enlarge the circle a little bit more here okay now now at this point here I'm going to start thinking in planes okay you know the planes surfaces of the head here so for example we start off with the forehead that's a plate so I could actually draw like a a little square here in perspective symbolizing the oldest race a little bit this middle line here the forehead okay and then here we have another plate here that goes back in space okay so now what I'm doing is I'm starting to construct this forehead here and again this is what we're trying to do we're trying to make everything feel three-dimensional three-dimensional when we're doing this okay so I want this volume to feel like if you could see my lines here that is going around here because this isn't that what we would go down like this isn't this what the forehead would do okay it'd go out and around like that okay here we have the eye sockets okay in your skull you have these two holes here where your eyeballs would sit now I'm just going to draw these lines here just so you understand where I'm going at here so it's like kind of like I'm drawing the skeleton underneath what I'm actually showing you again here is not what I actually draw on paper it's what I'm thinking when I'm drawing okay now there and then we have the actual cheekbone here that usually goes down like this and then I'm going to let go here like this so this is this is going to be a man and a very strong man like like comic book style man here okay so what I'm going to do is I can actually show you what I'm thinking of see I'm drawing these dashed lines pretty much to have a feel of what the surface the shape of the surface is okay and I'm just doing that for my sake okay when I actually render this you won't see any of these lines oh okay but socket like this line here this is usually where the eyebrows would go this is where the eyebrows would go and that we know the I would indent inside here okay and then underneath here would be the teeth all right now let's start with the nose okay the way I like to do the nose again I am thinking I am thinking and shapes here right now I am thinking of a shape kind of like that okay kind of like a cone little bit of like a cone because again we are going in about an angle here so I'm imagining you throwing the lines here and again like this sub try to understand like the actual shape of this nose here that it goes like that alright so I'm going to start drawing the nostrils in here the holes oops little LED break and I'm going to start constructing this nose here so I'm going to hold here so will go like this and I'm going to go under here we got figure out what this nose the shape of this nose will be okay and because at this angle you ask yourself will we see the other nostril since his head is turned so much I say yeah let's try that let's try to do that now let me just erase this line here just so I could feel what's going on here now with this nose okay so I'm going to erase some lines here just so I can feel what's going on here now this nose first of all I'm going to add the line that goes like this so I'm trying to figure out figure out underneath what part of this nose would be underneath the other and what this shape will be like here okay now some counters they'll do something like this they'll do look at this sort of bracket style so that you could actually see the bridge of the nose here okay so let's do that for now let's do that for now now in terms of the eyes okay so let's go to the eyes so first of all this would be all eyebrow you'll actually see me when I when I when I draw a head for the most part I'll always start with the eyes the eyes are the windows to the soul as they say if the eyes look right the rest of the drawing most likely falls into place but for this exercise let's draw the eyebrows in first just because I already know where the eyebrow line is so I can draw the eyebrows here like this okay now let's figure out these eyes now you know I could go in and already start you're just drawing you know a regular eye but what we have to keep in mind is the eyeball it's a it's a sphere – it's a sphere – and they go inside the head right and I get a guys I'm apologizing for saying right and okay I read your comments I know and I'm doing my best here so they I can't help but I'll try to get better I promise okay but we know our eyes there are these round spheres they go all the way around inside the head here and then what the eye is really so we have your actual eye here look scary already but what I'm doing here is I'm trying to figure out the shape of this eye and then I'm trying to figure out what the skin is doing on top of this eye here but these eyelids are doing on top of this I hear so this lid is actually going around this eyeball around here like this and then we have some folds of skin that go underneath here like that and this will all make sense once I actually render this okay okay now this I hear just run around this I hear like this I'm actually inclined to bring out the bridge of his nose a little bit a little bit more that okay now see how this Chico sticks out here I would assume that this cheekbone would be sticking out a little bit more like this okay okay so now we're now we're constructing now we're doing something here okay so we have forehead here sometimes the above the eyebrow here this is some mass up here like this and then this would curve into it like that okay good now let's concentrate on the upper lip now so first of all usually there's like this fold of skin that would be right beside the nose here pull the skinning or going here and here okay and now let's go ahead and then draw the upper lip so usually as you guys know underneath the nose is usually this little slot here like this or your upper lip okay so again this now this face now okay so this would go down here like this and then this is up here like this and then around like this and then up again like this so I'm trying to figure out the different planes here so let's go ahead and start drawing in these lips okay so we get the lips go in here like that okay and then usually the lips would fold in underneath like this and then come out for the chin so I'm going to actually mimic that there like this and then I'm going to go ahead and then draw the chin here should I give them a cleft chin why not I'll give them a little cleft chin they say here okay okay and now okay and then here is the job will give them a strong superhero style chin there like that okay now they want to render this I'm going to show you some tricks to make them feel a little bit more realistic than it is okay so I'm actually going to erase part of this line here okay and I'm going to start erasing some of this red lines in there okay now let's go ahead and draw the ears now ears takes practice ears does take practice okay now usually the ear it depends on the person depends on the person but usually I find the ear the top is the same height as the brow or the eye depends depends on the person and then the bottom of the year will go down to where the note bottom of the nose is for the most part again everyone's different but for the most part that's what we're looking at here and now trying to draw the little details of the ear okay I completely forgot some of the names of hug the anatomies but at the same time I know what they look like okay so since we're going to make a muscular okay I'm going to actually draw the neck pretty muscular here so could have he's going to have like this nice Adam's apple here and we got the big rings here give some nice thick traps here like this and then maybe I'll give them some sort of a crew-cut ya won't give them a lot of here he feels more like an army guy to me feels like an army guy okay so this is what I'm thinkin out whenever I go ahead and start drawing faces so now whenever I I inked Satta like this first of all like I always do I have to decide to myself where is this light source coming from is it going to be here is it going to be here is it gonna be underneath okay for this exercise maybe hmm let's make the light go this way so we could light up some of this face okay so part of this face will be in darkness here okay so let's start off with some of the basic features of him and now that the structure is down now that the structure is down I'm gonna actually go ahead with the ink okay I'm going to go ahead with the ink and always when I go with the ink I always always always usually start with the eye okay so I'm glue here okay and again this part here that's skin it's all skin and interesting whenever you're working with humans like drop when you're trying to learn how to draw faces guys look at faces look at actors faces or you know it's so easy that is the google faces no we have a unlimited resource here of reference so take advantage of it okay so right now I'm just drawing fold the skin here okay and then usually we have this like a little indentation here when it comes to the eyes no it is draw socking like that and then draw at the bottom of the eye here like this very nice and now I'm going to draw another line it goes right underneath that I'm sure you can see that maybe I'll zoom in a tiny bit and zoom in you guys can actually see what I'm doing here let me zoom in with that okay the bottom there so again it depends on how detailed you want to go with this type of thing if you want you can even add like little lashes here which I will probably will do just a little bit for girls you could add a little bit more lashes here but so this is a very very the way I drew them this is a very masculine man you're like very prominent you know strong features on here so right now I am drawing underneath the eye little folds of skin underneath the eye like this now if I was drawing a girl I wouldn't be drawing this line here I would not but this is the guy guy you could get away with drawing a little bit more lines than you would the girl okay so now I'm gonna do actually draw the eyebrows now you'll probably give this guy a little bit thicker eyebrows I'm gonna give him some thick eyebrows thick bushy eyebrows here we go okay now as you notice here I'm just kind of like outlining it I'm thinking about taking the thicker because right now I'm using up there 0.5 just so I could get much detail as I can out of this okay so maybe the details here I would do with 0.5 but the inside here I'll go back without a sharpie or 0.8 and just you know fill it in with you know I don't have some strokes going on there okay so there you go okay and now I'm going to go ahead and draw the eye here so it's interesting what are we doing here before I had come looking forward now I'm probably going to have them looking a little bit more towards the camera you're like this okay or it looks like it's not a little good camera okay so one usually when it comes to eyes okay depending on what color they are and everything like if they were pure black or are they like a color like a lighter color you would have highlights here so usually I would draw two of them I would draw two circles like that I would draw the middle of the eye here and I would fill that in and then I would be like this little hatching here now if I knew that he was like for example if I knew this this what I'm drawing like an Asian character I would just go fill this in completely black but here I'm just giving the option and I got to do that yeah like that okay I might add a little bit more black here but I'm going to finish the rest of the of the head drum in first okay now I'm going to drop fold your like a furrow of the brow big thing here like this and just going to add a little bit of hatching to emphasize the fold in the skin yeah okay now I'm going to do something that a lot of people actually don't do I can add a little bit of hatching in the ice a little bit of hatching goes long just a little bit though like what you had at you can the eyes aren't eyes white for the most part yes but eyes can also be in the shadow so just adding a little bit up hatching in the eyes just to give it a little bit of shape okay that's okay now I'm going to go ahead to the other side here okay and now I'm going to draw the other eye here I'm not going to draw circle guy like that and same deal two circles here go ahead around here like that and now you finish off the eyebrow here okay now to draw the nose now the notes right now feels too indented here so I'm actually going to take it with the ink of it I should bring it out a little bit give them like a stronger nose here like that and I'm going to actually make like a little dimple in the nose here you try something different here and then I'm going to add one line here like this and to really emphasize this bridge of the nose here like that okay might be a little too much okay so before I do anything else when we add a little bit to the bottom of this eye here like this okay and I will go ahead and then draw the side of his head here alright now let's get to the nose but first of all I'm going to go in here and then draw the side of the nostril here and now I'm going to draw the actual nostril itself here and then again this is where style comes into play do you want the das drill to be angular do you want it to be not actually yeah so that's really up to you and your style your particular style here I'm going to go in like this I'm going to like this okay now I'm going to draw underneath the nose like that and I'm thinking if I should draw the other nostril and what they I'll do them just slightly because his head's turned here slightly draw the nostril like that there you go that's the nostril there now you quickly just do a quick line here for the side flip there and actually I'm just going to go back here so that I go back and forth just get a draw the four are you know at the upper eyelid there and and now I'm going to draw the side like that around like that okay and now let's get tulips let's get to the lips here going to start with where the lips touch together here like this I get a little bump here middle and down like that it looks a little bit like he's smiling so because you know the lips here this is like a fold in here where the lips touch so the corner of the mouth here so that's what I like to do is just add the few lines like that just to gradually bring that in now let's draw the upper lip here provide like this around so we'll do the same on this side here I'm going to draw the bottom part of the lip okay now let's draw this indentation here where go like that okay now and the draw put the line here for the bottom of the lip here okay and then I'm actually gonna hit it out like that and I'm gonna go ahead and draw it's a nice strong chin here that he's got here okay so I'm just adding a few lines here just like know where the planes are okay let me just zoom out a tiny bit could see what I'm doing here now let's finish off here now he'd draw his jaw because he has a very very strong jaw I wanted to have a strong jaw and I want you to notice something here like I could attach this I could but usually people have like a little fold of skin or a little bit fat that goes under the chin so I'll just leave that just for that sake okay now I'm going to go ahead here and then draw it down be the neck area and now let me just put some details with the ears and then I'm going to get out my sharpie and we're gonna actually add some black to this okay not like that across here like this so I'm going to grab a sharpie right now a sharpie now you grab a sharpie and get to start filling in some of this detail here so I'm going to go into the eyebrows here and start adding some blacks this eyebrow here okay and now I'm going to start adding some blacks in certain areas here okay now this is what confidence comes in guys a lot of you might want to pencil this out first and make sure that you are confident with the way the light source looks before you go into ink for me right now I'm relying on experience so I trust that what I'm doing here like I've done it before so it's either going to work or it's not going to work but we will find out okay so this is what I want to accomplish Lighting's coming this way lighting is going this way so we want to have that feel a very strong light source on that side so I'm going to go here like this okay here like that and then I'm actually going to go in here like this okay and then I can accentuate the cheekbone on this side at the same time I'm leaving this space here why because that's what we call a rim light okay so that's where a room likes to go then I'm going to go here like this and here like I so really light is just pretty much right here on this side here now what will happen though is that you will get some light shadows it will be cast here so that's why I'm darkening up a little bit inside here okay possibly here possibly on the inside here like that okay and now I'm gonna even in the slip here there would be a lot more shadow on the slip so I'm going to go in and actually lock that out like that and underneath this lip shadow up this as well okay now what's also interesting is because he's got the cleft chin that will be affected – okay now you would have a shadow here underneath the ear you would actually have a shadow in the ear and right now I'm just thinking where the lights going to hit and how it's hitting the different surfaces of his face and because of the strong light how everything else will be affected okay you got it so now I'm going to actually go to the Sharpie thing actually going to thicken up this outside line here like that okay get off that outer line there I'm going to thicken up a little bit this line out here remember I told you guys before the outlines wherever there are edges I'm going to thick it up those lines that's what I'm doing right now okay and now I'm going to go ahead and then add a little bit for this hair so again I'm getting them so sort of like a crew-cut kind of thing so just I'm just starting out thickly and then I will probably add go in and add a little bit more detail let me zoom out a little bit so you can see what I'm doing with the hair here okay there you go so I'm giving him more like a crew-cut okay so I'll add more detail there in a minute but first of all so we got to this point here now let me just blow on it make sure make sure that the ink is dry so if I go over this exactly this much what and you grab my eraser here I'm just going to start lightly getting rid of some of this blue line because it's too much and is affecting the way I'm seeing this drawing right now so get to the point where the structure I know where it is in my head so again I'm not going to go too deep into this because because I do want to see a little bit of the lines but enough that it's not so distracting to the actual drawing okay so that's where we are right now now let me grab and then let's start detailing the sky up here I grab the point one then I grab the point one and now I'm going to start adding my type of details to this guy so again I'm going to go underneath here this is what I forgot to do earlier just just a few lines just to help jog the mind and say okay this is underneath the nose this is the underneath the nose here okay and now I'm going to add some speed lines under here some hatching here to help emphasize where that nose will be in shadow okay No here we go here and then add some hatching to the side here and actually going to add some patching here inside the eye okay now I'm going to add some more hatching lines here like that okay and I might actually add a little more lines here like this or that side there okay now adding some detail in in this upper forehead area I think some extra hatching there around sometimes people would have like these sort of like wrinkles go around here like this one or two so not too it not too much you don't put too much wrinkles because like the more wrinkles you put of course the older they're going to look we guys are getting with guys when you're drawing guys faces you could probably get away with more more of those a needle sorry I'm just going to go in here and add a little bit more extra detail to the eyebrows here okay now I'm going to go ahead and add or hatching here so again this is a style choice you don't have to do this this is a style choice but you all of you know my kind of style very dark brooding David Fincher esque style so this is kind of what I like to do okay like that no get add smaller hatching here and some hatching again why do i do hatching it's to emphasize like grid a create radiating gradation like gradation over a surface here so the lights going kind of around here with that okay now usually the upper lip usually the light never you know it's always on an angle here the light so usually the upper lip is in shadow for the most part some more than others there like that and now let's do some bottom lip detail so this bottom left nut might not necessarily be in shadow but a bottom lip has all these crevices so I don't mind taking a few minutes and then just drawing in having feel of those crevices in the bottom lip there right now I'm going to add some detail to this chin let's detail up this chin a little bit so mining just a little bit of cross-hatching just make sure if you guys are using cross hatching and hatch you know regular hatching cross-hatching me just make sure you're consistent with your whole drawing okay don't just have patchy one plays crotch hashing and the other make sure it's it's all consistent but the drawing feels unified then if you're going to have cross hatching in one place that you also have prize hatching in another place just so it's consistency and consistency no matter what style you use it will help your drawing we're sure so again all that structure stuff at the idea the beginning you could do no matter what style you work it okay go here and I'm going to try to think how this will go here so again just going to add some some hatching lines here and hatching lines going down line like this then hatching lines going like that so we have that feel of boom boom boom like this that very superhero ask for sure very superhero ask so these lines not necessarily represent light but what they represent is form and structure okay so now I'm going behind the ear here finish that up here now I'm going under here and adding some matching here to help blend in these big thick Sharpie markers marks here this nose is bothering I'm very happy with the way this turned out I think it's not it's not bad but okay so with that here like this okay now I'm just cleaning up some of the lines here now what one thing I'm going to need to do I got to go I need to go in here and because I gave them like a crew-cut type thing I'm going to go in here and start adding little details here so it just doesn't look like a flat I did this with a flat sharpie at the top I'm trying to connect and add a little little micro details to the thick details that helps with like strands of hair a strands here and just adjust the camera here like this just fix strands up here like that and now I'm going to add some lines here to represent the you know whenever you have a crew-cut you have this kind of stubble on the side so I'm just going to go quickly just add some lines here just to represent that kind of stubble here stubble on the side I'm going to keep going just in one second here so right here I'm out and try to judge where the hair will stop and where the forehead will begin so I think someone around here would be okay so I'm just going to draw it's kind of like an outline but I'm doing it in a hatching form just so I you know I'm not going to have a line here I don't want to line there I want this all to be done in hatching so it feels like hair go go I'm just gonna take a quick look in the camera here huh it's okay I'll admit to you guys this is my best work but I just want you guys to start thinking the way I'm thinking or at least understand what I'm thinking like you guys obviously you guys could draw any way you want and think any way you want whenever you're drawing that's up to you whatever makes you happy when you're drawing but this is what I'm thinking of whenever I draw any you know any will end on my posters all right when I remember I'm trying to draw celebrities and all that this is exactly what I'm thinking that's why when you actually see me draw a celebrity I usually don't have one reference picture up I have multiples and like five six seven eight and multiple angles because I want to have a feel for what the surface of the faces are if you guys look at my am my vlog Channel I have this um behind the scenes of some of the the pieces I did where I was trying to draw the actors and my my thought process behind them and you'll see I'll have more than one picture up okay so you're not going to actually do now I can actually give him some I want to give him some beard stubble again this is one of those things where you guys don't have to do this okay you guys probably kind of stopped drawing about half an hour ago on this but just for me I'm just gonna add a little bit of stubble to this guy here so I'm going to go in give him a little bit of a more like a little bit of goatee a little bit so I'm trying to understand because we did those stretchy lines I have a feeling of where this stubble for the most part will go so I'm going to try to keep it a very light actually so just just small dots here see depending on the person I'm drawing this beard for because I want I want this again to feel a little bit lighter so that's why I'm actually spacing out a little bit more or else I would concentrate it and the closer I get to shadow the longer my strokes become there as you can see so I'm going to go here Oh what the hey honest I'll just double up his whole face here but as you can see the way of stumbling I'm going in the direction I feel the skin is going so I'm just not doubling for stumbling sake there's a method to the madness here okay just taking a look at the camera here now I'm going to go back here and again as you could see my lines I'm thinking of where the skin is going around always always always thinking in 3d and it will always help your drawing immensely guys immensely okay so you just add a couple more details here and then we'll call this a day because again this is just an exercise not necessarily a completed drawing but an exercise and help you guys understand where I'm coming from whenever I'm doing so like this remember before I showed you guys I would add like some lines that go across just so to help the viewer understand this these subtle lines yeah so I'm just gonna add a few of those here right now now looking at this this part here is probably too big but what can you do so I'm just adding a little bit more details in the eyes here because I'm actually inclined to make the eyes black now I'm total inclined to make the eyes black but I'll just leave it as is what I'm doing now is I'm adding shadow underneath the eyebrow here okay so we're almost done here just mix it up a couple more things here I know a lot of you're like okay that's not James but we're almost there guys almost there okay so I'm just like that here like that and when one of my drawings be without my trademark spots even on human faces I find adding some spots so I'm just trying to fix as some spots here and there like this really help really help bring the drawing together okay then one more that and you know I told you guys before I want to make sure that the outlines that they are all connecting so I'm doing the same here just for skating purposes from skating purposes and makes it so much easier when we do it that way okay so there we go guys this is how I render I draw construct and render a human face is this my favorite most favorite drawing the world no no I see problems here maybe because I'm filming this a little bit late but I think it's enough for you guys to understand where where I'm coming from whenever I am drawing whenever I am drawing a human face now again guys this is my method doesn't mean it has to be your method you do you do you you do what works for you this works for me oh this is how I feel whenever I'm drawing this is what I'm thinking whatever I'm drawing and for the most part it works for me and you guys do what works for you if you have some there's some parts of my methods that you feel would work well in your drawings by all means use them use them if you think that this is too much for you or you think that this is too much thinking unnecessary thinking oh well to each his own go no problem no problem I'm saying that this is work for me you gotta find at the end of the day what works for you and makes you happy can't stop working on this guy why can't I stop working on this guy stop me again stop me stop me before I ruin it okay so let's let's call this kind of done kind of done for now it's one of those things where I could always work on something you can always always always work on something if it will give them someone so we're detailed here like that okay but that is what I think about whenever I do a human head okay so thank you guys so much for watching I really do appreciate it and for the past Oh the past week has been it's been amazing for me all the warm comments all of you new subscribers or hear it and the old scream subscribers come out and told me how much you enjoyed so far the stuff I've had on my channel so you know I want to do give you guys as much value as I can so that's why I'm starting this we'll call this basic if you could call this basic this basic series so hopefully it helps you guys so if you have any questions please do let me know in the comments down here below please hit that like button please follow me on social media to Twitter Instagram snapchat at box-office artists please follow me on Facebook at the box office artists and yeah this has been fun so I also let me know what other tutorials you want me to see I think in September I'm going to do this whole series on perspective which is one of my Forte's my forte and you know show you guys the different perspective I use and what I think about and how I incorporate them even when I'm drawing robots I think that would be a lot of fun and even in humans I use the same sort of principles so I think it's one of those things that everyone can benefit from and I just can't stop working I just can't stop I see I go back and I see something I want to add a little bit more here and a little bit more there and I know I got to stop but let's stop okay so thank you guys so much for watching and if you haven't subscribed already please do subscribe to my channel share my videos if you think they are worth sharing and I hope you learn something any question you have about this particular tutorial please do let me know in the comments below I'll try to answer as many as I can and let me know what other tutorials you would like to see and I will see if I could get those going for you thank you so much everyone my name is James I'm the box office artist keep drawing and hopefully I will see you guys

Industrial Design Sketching – Where to Put Markers!



okay so we have a world line work here and what we're gonna do now is I'm going to show you a few ways to add marker to the sketch and what you want to think about when you do that so I'm going to use let's see what I'm going to use three different markers so let's see if these variety of different markers maybe this one will work as well let's see sure we can use that one so whenever I start with markers I want to start with the lightest marker in this case we're going to make an orange car so I'm going to start with yellow and this is going to cover most of the car except for where we have or highlights and burn points and those are the points where the light is such a strong reflection that it's basically white so you want to keep the paper white there because then you don't have to fill it fill it in later on with white ink so just keep just have the paper doing the work if that makes sense so I always do a horizon line like this and this is to visualize where the shoulder line of the car is so the higher the shoulder line is and that is this line right here the higher this line is the more aggressive or sporty the car is usually that's how it works but nowadays all cars basically all cars have their shoulder on line and very high up it just gives it more muscular feel and it looks cool so what we're going to start with is to figure out whether light source is coming from so I'm going to have the light source coming from up here right yeah I hope you can see the arrow from up here and what you want to do now is to basically start filling in this horizon line here and by that I mean the whole side of the car up until the line that you just put out in between the wheels and you can adjust this line to have it wherever you want to have it on the sketch as I said the higher up the cooler the car or the higher up the more sporty the car is going to look basically so I'm just going to fill this in right now like that and do the same thing on this front fender right here so I'm going to cut that off right there somewhere and this yes this is just one style of infinite amount of styles to sketch a car this is just the way I prefer to do it there are probably easier ways to sketch a car with markers because you can skip all these lines just make it yellow the whole thing and then just add some white ink to it for example but this is how I want to do it and then we have this fender over here now you can see that this surface here this surface right here is facing us that means that it's in the shade at least some of it is in the shade so I'm going to add yellow on there and this the opposite side is facing the Sun so that's going to be why I'm going I'm going to keep it white for now I might add some yellow later on but for now I'm going to keep your wife and I'm gonna add the the this part here and I don't know what to call it really but the the space above the shoulder line I want to have that yellow as well at least with the first layer of yellow which is the brightest one because I'm going to use orange later on anyway so something like that that's a good start and we might want to add some on the hood as well because now the whole entire hood is white so we can add some yellow in here why not just play around with it and I think that looks cool also add up there and I think we're done with the first layer of markers basically the easiest way to do this is to look at sketches that you enjoyed that you like and then try to copy those sketches and try to think about why why the reflections actually go where they are on the sketch alright so right now I'm going to jump into the next layer of markers which is a yr 14 and I'm gonna fill in just add some depth to this and going fast over here and I want to keep the middle white and the base lines are going to get some orange on them as well and also around the wheels something like that what I'm doing now I'm emphasizing the horizon line so I want to add a I want to make this line here stand out and the same thing with this line over here with the horizon line that continues around the corner of the car and you see this nose here this line this surface is facing towards the ground that means that it's going to have a darker shade than the hood which is facing towards the sky and that means that we're going to have to add some orange in there and I'm going to add orange on this part as well because it's facing towards us and not towards the Sun so adding that right there and then maybe add some orange up here and on this side because this whole side is facing towards us and the Sun is coming from that way so that means that it's going to be a bit darker than the rest of the car something like that and I think it looks pretty good right now I'm not even sure I want to add a third marker to this but oh yeah we have this air vent down here so this is a I forgot the word now indent or whatever you call it so this sits inside of the body and that means that it's going to have a darker shade of orange then then the regular surface here that's just the side of the car let's see if we can add some what happens it doesn't even make a difference so cool I don't have to add the last marker because it's basically the same maybe just add some stuff in here like this align like that line over here and you can make a line right there sweet so I think we're done with the body work and that's basically what you want to do when you add markers to a to some line work you want to keep the keep the the most important thing is to understand where the light source is and then go from there and think about where the surfaces are tilted to or it's already tilted towards you which is the shading the which is which are going to be more in shade or are they tilted like this surface here like the fender of this side is tilted towards the Sun which means that it's going to be lighter and then just go through all these surfaces like that and try to figure out how how the sketch is built up so let's let's add some of this too and we can add some black if we want to let's see if I can find a black market that actually has some ink in it I hope this one is fine so you can fill in these air vents here for example like that and fill in this one since you have the line work is pretty easy to figure out where the black is going to go because you already have the surface defined by all these lines here so you need to just select a coloring book just fill in the empty space like this all the way back here alright so then of course you can start to add the black around the wheels and whatever you want and continue this sketch and take it to the level that you want it to be and that's about it guys I hope you enjoyed the video if you did please don't forget to Like and subscribe I hope to see you in the next one my name is Marwan family and take it easy

Art Industry Talk – Studying and Breaking into the Industry



all right hello fellow painters this is the first of a series of art industry discussion videos that I've got planned for my channel and they will be specifically for those who would like to take their work to a professional level you know like at a film studio or game studio either in house or as a freelancer I'll do my best to stay on topic with a few important subjects per video or feel free to mute the audio and enjoy the full painting demonstration playing in the background this painting by the way is inspired by Michael Crichton's posthumous novel dragon teeth which I'm looking forward to reading next week ok to kick off the discussion I'm going to combine two questions that I get asked a lot the first is how should I go about practicing you know getting yourself ready to work as a professional in the industry that's the first question the next question is how do you break into the industry how do you present yourself to art directors or employers who are looking to hire artists okay so we've got those two questions and yeah they're pretty different questions in nature and the first thing I want to do is actually draw the parallel between them so I can use that as kind of the underlying theme for the rest of this discussion if I could boil it down to one word the word is focus both questions spur thoughts that surround focus okay so let's think about that word focus what exactly is focus probably the first image that comes to your mind when you think focus is a singular goal maybe synonymous with goal a singular place you'd like to be at some point in the future the future might be a year from now three years from now five years from now but it's like a target of sorts the word focus might also imply that there are many distractions because if you're focusing on one thing that means you're maybe not focusing on a hundred other things for example I'm a professional artist I am NOT a professional soccer player even though I enjoy playing soccer so from that let's infer two things we have a specific point that we're trying to reach and to do that we inherently know that we have to downplay or maybe even ignore many many other prospects okay so I'm assuming most of us here are visual people the image that's in my head is we're at point a and the target I use the word target a moment ago the target is somewhere off in the horizon so we have point a where we are and point B the focus where we want to get to and here's an obvious statement from point A to point B requires a commitment to move I mean there'd be no need to focus on a goal if we were already there right so right here at this particular point of Career Planning this is where I see a lot of students making an error in judgment and the error is this having a focus is great but it is not the same thing as knowing the direction to take and that's because directions are not simply linear my analogy a minute ago of focus being like a target is actually not a good image the image a target puts in your head is that there is a straight line like you're shooting an arrow from point A to point B but I'm going to tell you why that's not how focus should work in art practice so think of two journeys you've taken in the past and I mean literal journeys like going to your grandparents house or going on a hike in both cases you have a goal a focus a place you want to get to but also in both of those cases it would be completely foolish to assume that from point A to point B is a straight line it'd be foolish to assume that you wouldn't have to take some turns and unexpected turns along the way like maybe to go to your grandma's house you encounter a detour like there's construction you have to take like a ten minute detour around it or on the hike you might have to circumnavigate I don't know some Inlet to get to the place you initially pegged on the map and if it's your first time on any of these journeys there's just no way you can anticipate every little turn that you're going to be required to take so the conclusion here is that focusing on a destination is not the same thing as knowing exactly how to get to the destination now that's painfully obvious when it comes to those two examples however when it comes to art and I've taught art for a long time and I've seen many people who fail to make that connection you might say I want to be a concept artist in the film industry and okay that's the focus but then from there many people will draw the straight line and say therefore I have to paint a lot of concept art and that sounds very logical but I think there are major holes in that solution it's problematic because you've preordained some kind of route from point A to point B which puts you in danger of unconsciously shutting out any terms you might have to take along the way it's kind of a problem of reverse engineering and this is where I'll get into a personal story my first ambition in art was actually not to be a painter I wanted to be an animator and more specifically I wanted to be a Pixar animator you know this was in 1995 and Toy Story had just come out so you can loop me in with the thousands of other people whose life ambitions were shaped by that movie so I set my focus on becoming a Pixar animator and what depicts our animators do they animate on the computer so I made the conclusion that to become a Pixar animator I would have to get the computer software and learn to animate on the computer and man I was really literal about it I actually built a model of mr. Potato Head copying the Toy Story model and tried to animate that that's how tunnel-visioned I was completely convinced by the way completely convinced that that was the right solution now to fast forward I hit a major brick wall because I had no drawing experience I had no foundations my animation was horrible and after years of learning to pilot 3d software I had to admit to myself that there was a massive gap between my work and depicts our animators work and the scariest part was I couldn't account for exactly what the difference was I could see it but I didn't know why it was like I don't know Dark Matter or something and the best thing I did for myself back then and now that I think of it it was my first introduction to this whole focus lesson is I decided to just bite the bullet and look into why my work was lacking compared to a professionals and I remember feeling disheartened when I learned that so many picks our animators recommended becoming good at drawing in order to improve your animation those two things never computed in my head like the world of drawing was not even on the linear path I'd predetermined to become a good 3d animator so I was charting that straight line where really there were turns along the way that I just couldn't expect so at age 19 I took my very first life drawing class I had no previous drawing experience and of course my drawings were even worse than my animations and it was an uncomfortable experience being back at square one now little did I know that learning to draw would change my life but I'll get to that part of the story in just a second because you're watching this video it's probably not too far-fetched to assume that you have a focus and that focus probably has something to do with painting be it concept art or color keys or my painting or background something in the realm of painting and just like how I looked up to Pixar animators as a way of marking my focus you probably have your own favorite artists as well favorite artists who have jobs that maybe you'd like to obtain one day and that is all great there's absolutely nothing wrong with that but I'd like to give you my opinion on something I think it's actually very restrictive to set your focus on getting a job so let's take concept art as our example because that seems to be a real popular one the problem with setting your sights on a concept art job well there's a lot of problems but first is you might get caught up in the software like I did you might say oh modern concept artists use Photoshop and ZBrush so that means I have to use that when the reality is that software is the ephemeral part it seems to be changing faster as time goes on – I mean it wasn't really so long ago that ZBrush didn't even exist and now who knows what software is going to be out and even two years from now and while learning modern software is yeah it's important but I would caution you from putting too much of your focus in that department like if you're a new student right now just starting say College right now and you are trying to learn the software you might be outdated by the time you graduate that's how fast this stuff moves now my next point on a broader and more important scale concept art for example isn't really a thing like it's not an art form concept art is just a job description created by the industry all concept art is is the process of communicating visual ideas it's just being an artist a good concept artist is a good artist so to be a marketable concept artist you actually need to fuse a wide variety of skills that will make you a great visual communicator something that will separate you from the rest and that leads me to my next piece of advice a lot of people and myself included in my early days study a lot of art work done by other artists you know artists they look up to and that's completely fine as well you should do that but you have to know that if you study only from other artists or if your studies are primarily from other artists while you will certainly pick up some skills that way what you're ultimately doing is studying what's been done before and you're feeding your brain with old ideas and I think that's a very dangerous thing because it chokes your creativity rather than let that flourish I mean we all know there's a lot of competition out there these days right to get noticed you want to stand out not blend in and getting to the level where your work does stand out that gets back to this idea of not knowing exactly the direction and I just want to quickly interject if you've been watching the progress of this painting look at the direction it's taking now versus where it was going when I originally set out I mean yes it was always the painting about dinosaur bones but everything else about the story of this picture has changed as I discovered it which only happened as I progressed and there will continue to be changes like that right up until the very end I mean this painting is kind of a microcosm of exactly what I've been talking about okay so let me get back now to how life drawing changed my life once I began learning drawing from the foundations like I had nothing I didn't even know what a gesture drawing was when I was 19 so starting from the bare bones beginning I fell in love with the process of learning what it takes to become a good artist and no longer was I'm I optically directing my art practice to fit the job descriptions that were available at the time and that kind of broader focus allowed me to let in exploring other kinds of art that I probably never would have considered otherwise things like plein air painting and sculpture and charcoal rendering and gesture drawing taking a sketchbook to a cafe with some markers and a pen things that don't seem self-evident when all you want to do is be an animator and of course it was during that time when I discovered painting which was nothing short of a life revelation for me painting actually became like the mothership that all my other explorations filtered back into and ultimately what those other explorations are is the gathering of life experience and this is the subject that most art schools completely ignore because after all you can't give someone life experience it takes time and ultimately the volition to get out there and again I think if you have your focus on getting a job you'll probably be apt to miss that aspect and by doing so you unintentionally put a ceiling on how good you can get so I have to say this is not a fast process it took me years and it's still ongoing I'm by no means a master I'm just telling you what I've experienced so far and what I truly believe works and I have conviction in this because when it comes to getting a job as an artist as I began to filter all of these art lessons I was learning into my painting I almost became employable by accident because what I had really been doing unbeknownst to even me is developing a voice developing a style and that's what the industry people respond to and that's what other audiences respond to when there is something intangible in your art that speaks to who you are as a unique person a person with something to say with a collection of life experiences you know rather than someone who has just spent three years in college studying industry standard software and of course these are not mutually exclusive you can be a student in college studying industry standard software while still getting out there to seek all these other experiences as well and I hope I'm not speaking out of turn here but I've been a teacher for ten years and I can tell you that the students who truly do that they're in the minority you know I think most people they identify who their favorite artists are and then spend years trying to paint like them and you know of course I have my favorite artist too but as I combined you know my own unique set of life experiences into my work I found that my work took a different direction like I love JC Leyendecker for example I love JC Leyendecker one of my favorite painters ever my work looks nothing what I can't paint like him it's just not in me to do it I don't see like he did I don't think like he did I don't move like he did but even though I love his work my work took a different direction just by default because of the particular path I went down based on where I put my focus and I find all that stuff real exciting because I know as I continue to explore all kinds of different areas and it all feeds back into the art I know that I'll keep evolving as I go like art is not a static thing you know just because you turn professional it doesn't mean that you can't still grow I look at my paintings from five years ago and compare them to what I'm doing today and there's a difference it's not even really a skill difference although there is some skill difference it's like a belief system difference like I can see where I've grown it's this is all very personal thing but I can tell where I am doing things differently based on what I have learned as far as life experience goes so you know growing in art is exciting on a whole deeper level than simply skills but I feel like I'm starting to get off topic now so let's go back to the industry and you know landing a job I said at the beginning of this video that that's the subject that also involves focus but it's a different kind of focus this kind of focus revolves around how you present your to the world so it goes without saying that in today's day and age you need a website you need a social media presence so people can see your work that's the primary Avenue that employers will see your work and you have to fill that space with your work you know people don't really carry around physical portfolios anymore your website is your portfolio but what works do you put in there this is where focus comes in in this regard one of the largest mistakes I see people making is they put a whole bunch of everything in their portfolio and I did this to my first portfolio back in 2005 it had life drawing it had quick sketches it had renderings that had portraits and had caricatures it had backgrounds it had all this different stuff it was very unfocused and that's because I put that portfolio together during a time in my life where I was still in the early processes of exploring and meandering I hadn't really discovered whoa I was yet and I remember I was at a job fair and I showed that portfolio to the art director who I wanted a job from and I remember so clearly the art director opened my portfolio started flipping pages and then he started flipping pages more slowly and slowly and his expression became increasingly more puzzled until he stopped halfway through kind of looked at me and said so what is it you want to do and that is a moment I will never forget because I learned an incredibly important lesson that day your portfolio needs to be focused it is not supposed to be a record of everything you've ever learned about art the goal of presenting your work is not to overwhelm the employer but to convince them why they should hire you you need to tell people unequivocally what it is you want to do where your interests are what you're good at and what you bring to the table in a potential project one thing I've learned is that people have a very narrow attention span when it comes to being presented with information they want to get the point extremely quickly I mean that was a whole inspiration behind my 10 minutes to better painting series for example but it's no different when it comes to presenting your portfolio people want to go to your website and see exactly what it is you do from image number one for example if you went to my website you won't see examples of my sculpture or my life drawing even though I do do those things you'll see examples of where I think I'm employable you'll see light in color you the atmosphere you'll see characters and backgrounds and honestly that's about it but within that I can be employed as a concept artist a matte painter a background painter a color key artist a character designer an illustrator and my experience has been that with time comes more focused because the more you learn about yourself and who you are as an artist the more you can then focus your portfolio and find greater enjoyment in your employment because people are hiring you for what you're good at and that is a statement that does not work in Reverse all right guys that was a discussion of some broader concepts that I've had in mind in future videos I'll get more and more specific so here's a pan through of some of the more interesting areas of this painting but hang on don't click away yet I want to show you one more thing you can do to keep exploring even after the painting is finished like this it's just a basic color correction pass I notice my painting is on the cool side so I'll throw a new layer on it with a color burn mode in this case throw a pretty aggressive color on it dial it back with opacity and then I'll give that layer a layer mask which I will now paint black into with an airbrush what that does is it reveals the layer underneath so I'm basically revealing my original painting underneath and I'm finding the increase of warms and cools is actually giving this painting a little more punch to it and you know sometimes I try this and I don't like the results but in this case I actually like what's going on now a little bit better than what I had before you know the digital medium is great for this kind of color adjustment so I'll probably use this as the final image and of course the reason I'm showing you this is not just to show you a cool Photoshop trick but to encourage you to always be exploring even after your painting is finished it's never really finished to exploration is something that is ongoing anyway thank you for joining me other will be more installments to this series but first I plan to get back to my ten minutes the better painting series for episode 4 and I invite you to contribute suggestions you might have for future topics for this series by simply posting them in the comments so thank you again and happy painting you