So what were you thinking with this, seems like you're trying a different approach with this character. You kind of, what was not working about the previous version? >> The shapes, like I said, not seeing. The character in it yet. I'm not finding, the description you gave wasn't matching the drawing. So we're going back and looking at some of the other ones I had done. I was like, it was a little bit closer here and I got off the path, and I think it's just because I kept. Thinking about the shape more than I was thinking about the character. That can happen sometimes too. You're just so concerned with, oh, I should balance out the shape, but it loses all that personality. Yeah, that you need. And, like I said, that's the number one thing for me. Because if it doesn't resonate with me it's not going to resonate with anybody else. I'll be thinking a lot about this as I'm drawing it. which is like someone who looks at the drawing, will they be able to get a sense of everything you mention in the description without me uttering a word. That's the whole point of this stuff, is. I shouldn't. No design should ever have to have someone sit beside it and tell its story. It should just say it pretty quickly just by looking at it. Someone should figure it out. Which means sometimes you go too cliche, so you go to, very obvious simple thick ideas. That can convey those things. But that's kind of a purpose of design. The brevity of communication. When I was first getting into design, they always said the same thing. Oh, well, it's a main character, it's not gonna be as interesting as the other ones. And you can go crazy on the incidentals, you can go crazy on the villans. And don't go crazy on the main character. And I think there's a, their argument is that it's a little bit of a, you don't want to scare people. You don't want it, functionality wise you don't want it to be something that's so specific and complicated that it doesn't function either. Cuz you basically have two main characters and do the majority of your acting. So you have to make sure they cover all varieties of movement. Sometimes when I'm doing design, I follow Maurice Noble technique which is that I don't look at reference when I'm drawing. I try not to have it at my desk. I try not to bring it up on Google, in general, or anything. I just kind of, you get an idea. You go okay, if this was my job to do this design. I think what I would end up doing is, I would spend two, three, four hours, maybe even more just looking up wrestlers. I would just be sitting there looking them up, getting an idea of this is where it's kind of heading towards now. It's getting in an area, but it's not the area that I want. I would just sit there and I would look at them. Yeah, I would be looking for their shapes. There is a certain kind of shape vocabulary that comes with everything you do. And that's just like pigs and goats and all that stuff. Where you were saying, oh, why is it so round? You just start thinking of the pig's shapes and stuff. It would be weird if I built a pig on triangle. It would be interesting challenge, but It would be a, it wouldn't be its natural, the shapes that you think of. So anyway, I would be looking at the shapes that you think of when you look at a wrestler, like okay, these kind of haircuts or these kind of things. And then I would instantly put them away And not look at them. And draw what I remembered. And I wanna keep them around. And the reason I do that is because you just don't, one, you draw too tight when you have reference around. You draw too realistic when you have reference around. I think it's, you get more interesting stuff when you're just thinking about it. When you're trying to observe. But no one's a computer. You do need to like kind of re jog your memory. I caricature celebrities all the time now. I got obsessed with this book by this guy named Mike Peters who did Mother Goose and Grim, newspaper comic. And he said something really interesting. I read a lot of art books and stuff. This is kind of where it's at right now, I don't I should do any more passes of it unless you guys wanna stay until sun down. But I probably will do some when it gets cooler. But I'll talk a little bit more about drawing and stuff. This book was, it was all political cartoons, and he said, oh, I never did any life drawing. But for a cartoonist, caricature is life drawing. That is so true. It's like if you can caricature on the fly which I was always okay at. Like, that is version of life drawing. Is that's the design part where you're making choices on like. A shape can look like this, but you can get into the intricacies of this is where I broke it. That's the highest part of that arc. Now a caricaturist can go in and go like that, exaggerate it all the way up. Or they can go oh, I'm just gonna do it straight. You can have so much writing and like that is your caricature muscle that you stretch as you do it. So you can do things like that. But you can even caricature things that are not, like shower heads. I mean right now the show I'm working on. I'm like It's so different than other things I've worked on that I'm like saying not only going like coffee cups. Along with the main characters. And I'm hoping that I'll break the standard of the main character being the most boring. I feel like these main characters are pretty Unique looking in some ways. I'll show you some stuff off camera. But yeah I don't know you kind of just of you look at life but I don't know. I went to school for biochem and I took anatomy for artists. As I was doing that I sat things I was doing a lot of realistic drawings. And I met this guy at Dreamworks I met two people from Dreamworks. One was extremely nice to me and was everybody was telling me well you got to meet Cory. Like he's really good and I at that time thought I was really good. I'd already worked in Animation at that point. I was 19 but I'd started working when I was 15. And he was so nice to me. I can never remember this guy. Anything he said. He was so nice and I don't remember anything. Then a other guy was like you're not good. This. I can't even tell if you're a cartoonist. This is like Just real life and he ridiculed me, and he was like, you know what's the problem with you? He said you will start working, and you think it's fine, and then you won't go home and practice. You'll never. He just absolutely was so mean, and it made me, it was like bad parent or something. Every day I got home from work, I practiced more And I have a pretty strict ritual that I try to keep up with. Which is I would do an hour in the morning of practice, where I duplicate someone else's work, and then an hour at night. And you can learn really fast to be analytical. And that's part of design is how much you analyze. Like you can look at someone's work and you can go like, wow. Cool. It's so great. But the part of design is going like, why? Why does this work? Even if you think somethings ugly. Knowing why it's ugly is just as important. You know? Not just going, oh it's ugly. I don't care about that. It's like knowing the bare bones And so you can theorize, you can look at it and go well that's ugly cuz they used white lavender. But it's only a theory until you sit down with a white lavender marker and go well what if it was blue? Does it make it better? No, it's like you can. And that's so much of design is like going through those. Spectrum, and then you go, well, like this right now, I know it's not a good design at this point. I know it needs some things worked on. It's too hot here. [LAUGH] I will be thinking about what but, I There's things I'm already thinking about, like this balance of this shape is too short for this head. I'm losing things. If I was on the Cintiq right now,which I might do. I might take this and scan it, put it on the Cintiq and then actually start stretching it. So I like to design like that sometimes, where I will use the Cintiq for proportions really fast, because you can do that stuff really fast. But you'll start messing with it, you'll start finding that balance, and then when it starts feeling right, you start measuring and you start going, "OK, well why?" It's because I changed it to three And instead of two. And then you go, well what happens if I do three and a third? Then you can start messing with the mathematics of it. You kind of can't do it while you're doing it. You can kinda measure out, but it's so rough. But the finalization of the design is where you kind of are really That kind of measure and there's a lot of other techniques I will be doing to show. I'll talk about some of the things I'll be changing. I want people to look right here and I know that they're not right now. There's things I can do. When I go over it, I can actually make sure all of these curves here An arm are going and pointing back up towards the head. I can make sure everything. Right now that one's going here, but if I go and I direct it back up here, and I go and direct this one up here I can start controlling the eye, so it can start looking in certain areas that I want it to. What I'm doing, I'm just kind of feeling it out. I'm not in love with this design, I'm still trying to figure it out. I'm not gonna get it right away but when I start getting it, it'll start coming together sort of fast. It's kind of like the last parts of a chess game. You. You know, so much of it is dependent on what is being played against you. At often told strength point. Then it's the end game, and then it's just the movements. There's only so much they can move, and there's only so much you can move. So then you can start calculating it a little bit more as it finalizes. You start going like okay, yeah okay. If this is my boundary on this then I can start pushing all this. Okay, I got to bring this in. I got to clear up this space like right away, even though I want him to have kinky hair I'm thinking this is getting in the way. Confusing my design are these two arm shapes are too close to these eye shapes. You start seeing that kind of stuff the more you do it. So it's like even though it's on camera and I am making all these mistakes, you don't stop thinking about this. You know, the design you're gonna sit there and you're gonna live with It's almost like my more abstract ones were kind of like [INAUDIBLE]. But as I was going through it some more I was losing track of those. So I will probably be going back and pushing things in that direction. >> Well it's almost like you were talking earlier about it being difficult to see a movie with a >> With somebody who makes movies. >> Yeah. >> Is I feel like sometimes the design process, you're making the thing that you can then criticize. >> Yeah. >> [INAUDIBLE] good. And before it exists, everything's perfect >> And then one it's there, it's easy to see when something's working or it's not working. >> Oh yeah, I mean I like basketball a lot. And one of the things that people talk a lot about right now is for last season Oklahoma City was. Injured and so it's all about this theoretical game they could have played if they weren't injured. [LAUGH] And that's the same with a design. All drawings are great until they're drawn and then that's when the problems sort of reveals themselves. Everything theoretical is awesome.
